Sunday, March 30, 2014

Top 250 Recordings Since Around the Turn of the 20th Century


These are what I consider the 250 greatest albums (or recordings in some cases for such as some classical compositions) that have been created since around 1900.  There are obviously many recordings I wished to put on here but could not fit, and some recordings that I recognize as historically important but did not include as they do not resonate with me.  I did not include an honorable mentions list as it would have been at least another 250 albums long...

To help preserve a timeline that describes evolution of many different genres the recordings are listed by the year it was first written, released, or recorded (rather than just the year that recording was released - as this is sometimes far later than it was originally written, such as with many classical recordings which  was recorded hundreds of years after it was initially composed)

PRE-1950

1888 -Gymnopédies (Erik Satie)
Satie, a French composer and pianist, referred to himself as a "phonometrograph" or "phonometrician" (meaning "someone who measures and writes down) sounds") preferring this designation to that of "musician,".  These short, atmospheric pieces are regarded as the precursors to modern ambient music. 
1896 - Thus Spake Zarathustra (Richard Strauss)
Classical - German (Post-Romantic)

1899 - Transfigured Night (Arnold Schoenberg)
Classical - Austria
(I know "Pierrot Lunaire" is the obvious Schoenberg pick and probably the most important work of his, but I prefer his earlier stuff and feel like if you're new to Schoenberg and Second Viennese School composers that this is a better place to start anyway...as that stuff takes hot minute for your ear to get accustomed to).

1904 - String Quartet in F (Maurice Ravel)
Classical - French

1905 - La Mer (Claude Debussy)
Classical - France

1909 - 9th Symphony (Gustav Mahler)
Classical - Austria

1911 -Symphony No. 4 (Jean Sibelius)
Classical - Finnish

1912 - Piano Works (Leos Janaceck)
Classical - Czech

1913 The Rite of Spring (Igor Stravinsky)
Classical - Russia
A ballet with music by Igor Stravinsky, choreography by Vaslav Nijinsky, and concept, set design and costumes by Nicholas Roerich.  In 1973, Leonard Bernstein said of one passage, "That page is sixty years old, but it's never been topped for sophisticated handling of primitive rhythms...it's also got the best dissonances anyone ever thought up, and the best asymmetries and polytonalities and polyrhythms and whatever else you care to name."


1927 - Symphony #4 (Charles Ives)
Classical - America
this is the prelude which ends with chorus singing the Epiphany hymn Watchman ("Watchman, tell us of the night"), which is basically Ive's asking the listener "what is the meaning of life".  In the three movements following this he gives three different answers: the existential, the religious, and the mystical.  

1931 - Boulez Conducts Varese (Edgar Varese)
Classical - French

1937 - King of the Delta Blues Singers (Robert Johnson)
Blues - American 

1937 - Symphony No. 5 Dmitri Shostakovich
Classical - Russian

1939 - Bartok String Quartets Bela Bartok
Classical - Hungary

1941 - Quartet for the End of Time Oliver Messiaen
Classical - French

1943 - Concerto for Orchestra; Music for Strings Percussion, and Celesta Bela Bartok  
Classical - Hungary

THE 50s

1950 - The Birth of the Cool (Miles Davis)
Jazz America

1954 - Metastasis (Iannis Xenakis)
Classical - Greek

1954 - Prepared Piano (John Cage)
Classical - America

1954 - A Night at Birdland (Art Blakey) 
Jazz - America

1956 - Saxophone Colossus (Sonny Rollins)
Jazz - America

1956 - Elvis Presley (Elvis Presley)
Rock - America

1957 - Brilliant Corners (Thelonius Monk)
Jazz - America

1957 - Blue Train John Coltrane
Jazz - America

1957 - ‘Round About Midnight  Miles Davis
Jazz - America

1958 - The Music of Harry Partch (Harry Partch)
Classical - America

1958 - Live at the Pershin (Amahd Jamal)
Jazz - America

1958 - Drums of Passion (Baba Olatunji)
World - Nigeria

1959 - Kind of Blue (Miles Davis)
Jazz - America
Linear notes: "There is a Japanese visual art in which the artist is forced to be spontaneous. He must paint on a thin stretched parchment with a special brush and black water paint in such a way that an unnatural or interrupted stroke will destroy the line or break through the parchment. Erasures or changes are impossible. These artists must practice a particular discipline, that of allowing the idea to express itself in communication with their hands in such a direct way that deliberation cannot interfere. The resulting pictures lack the complex composition and textures of ordinary painting, but it is said that those who see well find something captured that escapes explanation. This conviction that direct deed is the most meaningful reflections, I believe, has prompted the evolution of the extremely severe and unique disciplines of the jazz or improvising musician. Group improvisation is a further challenge. Aside from the weighty technical problem of collective coherent thinking, there is the very human, even social need for sympathy from all members to bend for the common result. This most difficult problem, I think, is beautifully met and solved on this recording. As the painter needs his framework of parchment, the improvising musical group needs its framework in time,. Miles Davis presents here frameworks which are exquisite in their simplicity and yet contain all that is necessary to stimulate performance with sure reference to the primary conception. Miles conceived these settings only hours before the recording dates and arrived with sketches which indicated to the group what was to be played. Therefore, you will hear something close to pure spontaneity in these performances. The group had never played these pieces prior to the recordings and I think without exception the first complete performance of each was a "take." -Bill Evans


1959 - Mingus Ah Um (Charles Mingus)
Jazz - America

1959 - Shape of Jazz to Come (Ornette Coleman)
Jazz - America

1959 - Time Out (Dave Brubeck)
Jazz - America

THE 60s

1960 - Threnody for the Victims of Hiroshima (Krzysztof Penderecki)
Classical - Poland
...seriously one of the most (if not the single most) terrifying piece of music I have ever heard in my entire life
(Penderecki's notation)

1960 - Giant Steps (John Coltrane)
Jazz - America

1960 The Incredible Guitar of Wes Mont Gomery (Wes Mont Gomery)
Jazz - America

1961  Sunday at the Village Vanguard (Bill Evans)
Jazz - America

1961  Ezz-thetics (George Russell)
Jazz - America

1963 - Getz/Gilberto (Stan Getz)
Bossa-Nova - America/Brazil

1963 - Live at Carnegie Hall (Pete Seeger)
Folk - America

1963  The Freewheelin (Bob Dylan)
Folk - America

1963  The Black Saint & the Sinner Lady (Charles Mingus)
Jazz - America

1963  Live at the Apollo (James Brown)
R&B - America

1963 - Live at the Harlem Square Club (Sam Cooke)
R&B - America

1964  In C (Terry Riley)
Classical - America


Performing Directions
All performers play from the same page of 53 melodic patterns played in sequence.
Any number of any kind of instruments can play. A group of about 35 is desired if
possible but smaller or larger groups will work. If vocalist(s) join in they can use any
vowel and consonant sounds they like.

Patterns are to be played consecutively with each performer having the freedom to
determine how many times he or she will repeat each pattern before moving on to
the next. There is no fixed rule as to the number of repetitions a pattern may have,
however, since performances normally average between 45 minutes and an hour and
a half, it can be assumed that one would repeat each pattern from somewhere
between 45 seconds and a minute and a half or longer.

It is very important that performers listen very carefully to one another and this
means occasionally to drop out and listen. As an ensemble, it is very desirable to
play very softly as well as very loudly and to try to diminuendo and crescendo
together.

Each pattern can be played in unison or canonically in any alignment with itself or
with its neighboring patterns. One of the joys of IN C is the interaction of the
players in polyrhythmic combinations that spontaneously arise between patterns.
Some quite fantastic shapes will arise and disintegrate as the group moves through
the piece when it is properly played.

It is important not to hurry from pattern to pattern but to stay on a pattern long
enough to interlock with other patterns being played. As the performance
progresses, performers should stay within 2 or 3 patterns of each other. It is
important not to race too far ahead or to lag too far behind.

The ensemble can be aided by the means of an eighth note pulse played on the high
c’s of the piano or on a mallet instrument. It is also possible to use improvised
percussion in strict rhythm (drum set, cymbals, bells, etc.), if it is carefully done and
doesn’t overpower the ensemble. All performers must play strictly in rhythm and it
is essential that everyone play each pattern carefully. It is advised to rehearse
patterns in unison before attempting to play the piece, to determine that everyone is
playing correctly.

The tempo is left to the discretion of the performers, obviously not too slow, but
not faster than performers can comfortably play.

It is important to think of patterns periodically so that when you are resting you are
conscious of the larger periodic composite accents that are sounding, and when you
re-enter you are aware of what effect your entrance will have on the music’s flow.
The group should aim to merge into a unison at least once or twice during the
performance. At the same time, if the players seem to be consistently too much in
the same alignment of a pattern, they should try shifting their alignment by an
eighth note or quarter note with what’s going on in the rest of the ensemble.
It is OK to transpose patterns by an octave, especially to transpose up. Transposing
down by octaves works best on the patterns containing notes of long durations.
Augmentation of rhythmic values can also be effective.

If for some reason a pattern can’t be played, the performer should omit it and go
on.

Instruments can be amplified if desired. Electronic keyboards are welcome also.
IN C is ended in this way: when each performer arrives at figure #53, he or she
stays on it until the entire ensemble has arrived there. The group then makes a large
crescendo and diminuendo a few times and each player drops out as he or she
wishes.

1964 - Out to Lunch (Eric Dolphy)
Jazz - America

1965 - Bringing it All Back Home (Bob Dylan)
Folk - America
The first half shows the birth of Dylan's electric period which he continued to develop on "Highway 61 Revisited" and "Blonde on Blonde".  The later half is the most perfect side of a record he ever recorded.

1965 Speak No Evil (Wayne Shorter)
Jazz - America

1965 - Maiden Voyage (Herbie Hancock)
Jazz - America

1965 - Inner Urge (Joe Henderson)
Jazz America

1965 - Otis Blue: Otis Redding Sings Soul (Otis Redding)
R&B - America

1966 - Aux Aeterna (György Ligeti)
Classical - Hungary

1966 - Revolver (The Beatles)  
Rock - English

1966 - Pet Sounds (The Beach Boys)  
Rock - America

1966 - Music for the Morning of the World (Various Artists)   
World - Indonesia

1967 - Early Works (Steve Reich)  
Classical - America

1967 - Miles Smiles (Miles Davis)  
Jazz - America

1967 Forever Changes (Love)  
Rock - America

1967 - The Doors (The Doors)  
Rock - America

1967 - Velvet Underground and Nico (Velvet Underground)  
Rock - America

1967 - Are You Experienced? (Jimi Hendrix)  
Rock - America

1967 - Sargent Peppers Lonely Hearts Club Band (The Beatles)
Rock - English

1967 - Piper at the Gates of Dawn (Pink Floyd)  
Rock - English
The only Pink Floyd record made under Syd Barrett's leadership, and my personal favorite Pink Floyd album.  It was recorded in an extremely short period of time and consists of both lengthy improvisations and shorter pop songs that Barrett wrote.  Barrett's use of LSD escalated during these sessions and he was pretty much an acid casualty afterwards, but still continued to make some amazing recordings (such as his debut solo album, "The Madcap Laughs")


1968 - Stimming (Karlheinz Stockhausen)  
Classical - Germany

1968 - Song Cycle (Van Dyke Parks)  
Experimental - America

1968 - Astral Weeks (Van Morrison)  
Folk - Irish

1968  Now He Sings Now He Sobs (Chick Corea)  
Jazz - America

1968 - Os Mutantes (Os Mutantes)  
Rock - Brazil

1969 - Sinfonia (Luciano Berio)  
Classical - Italian

1969 - Hot Rats (Frank Zappa)  
Fusion - America

1969 - In a Silent Way (Miles Davis)  
Fusion - America

1969 - A Love Supreme (John Coltrane)  
Jazz - America
Liner Notes:
"DEAR LISTENER: ALL PRAISE BE TO GOD TO WHOM ALL PRAISE IS DUE.  Let us pursue Him in the righteous path. Yes it is true; "seek and ye shall find." Only through Him can we know the most wondrous bequeathal.

During the year 1957, I experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life. At that time, in gratitude, I humbly asked to be given the means and privilege to make others happy through music. I feel this has been granted through His grace. ALL PRAISE TO GOD.

As time and events moved on, a period of irresolution did prevail. I entered into a phase which was contradictory to the pledge and away from the esteemed path; but thankfully, now and again through the unerring and merciful hand of God, I do perceive and have been duly re-informed of His OMNIPOTENCE, and of our need for, and dependence on Him. At this time I would like to tell you that NO MATTER WHAT ... IT IS WITH GOD. HE IS GRACIOUS AND MERCIFUL. HIS WAY IS IN LOVE, THROUGH WHICH WE ALL ARE. IT IS TRULY – A LOVE SUPREME – .

This album is a humble offering to Him. An attempt to say "THANK YOU GOD" through our work, even as we do in our hearts and with our tongues. May He help and strengthen all men in every good endeavor.

The music herein is presented in four parts. The first is entitled "ACKNOWLEDGEMENT", the second, "RESOLUTION", the third, "PURSUANCE", and the fourth and last part is a musical narration of the theme, "A LOVE SUPREME" which is written in the context; it is entitled "PSALM".

In closing, I would like to thank the musicians who have contributed their much appreciated talents to the making of this album and all previous engagements.

To Elvin, James and McCoy, I would like to thank you for that which you give each time you perform on your instruments. Also, to Archie Shepp (tenor saxist) and to Art Davis (bassist) who both recorded on a track that regrettably will not be released at this time; my deepest appreciation for your work in music past and present. In the near future,
I hope that we will be able to further the work that was started here.

Thanks to producer Bob Thiele; to recording engineer, Rudy Van Gelder; and the staff of ABC-Paramount records. Our appreciation and thanks to all people of good will and good works the world over, for in the bank of life is not good that investment which surely pays the highest and most cherished dividends.

May we never forget that in the sunshine of our lives, through the storm and after the rain – it is all with God – in all ways and forever.

ALL PRAISE TO GOD.

With love to all, I thank you,"
--John Coltrane

1969 - In the Court of the Crimson King (King Crimson)  
Progressive Rock - English
The first progressive rock album, and quite possibly the best.

1969- Trout Mask Replica (Captain Beefheart)
Experimental - Captain Beefheart

1969 - Stand (Sly & the Family Stone)  
R&B - America

1969 - At the Woodstock Festival (Ravi Shankar)  
World - India

THE 70s:

1970 - Paranoid (Black Sabbath)  
Metal - English
On Friday the 13th of Februray Black Sabbath gave birth to Metal with their debut album.  In September of the same year they perfected it with Parinoid.

1970 - Fun House (The Stooges)  
Punk - America

1970 - Band of Gypsies (Jimi Hendrix)  
Rock America

1970 - After the Gold Rush (Neil Young)  
Folk - Canada

1970 - Bitch’s Brew (Miles Davis) 
Fussion - America

1971 - Live Evil (Miles Davis)  
Fusion - America

1971 - Inner Mounting Flame (The Mahavishnu Orchestra
Fusion - America

1971 - Tago Mago (Can)  
Krautrock - Germany

1971 - There's a Riot Goin On (Sly & the Family Stone)  
R&B - America
Sly's response to Marvin Gaye's "What's Goin' On".

1971 - Magot Brain (Funkadelic)  
R&B - America

1971 - IV (Led Zeppelin)  
Rock - English

1972 - Pink Moon (Nick Drake) 
Folk - English

1972 - Europe 72 (Grateful Dead)  
Jam Band - America

1972 - Ege Bamyasi (Can)  
Krautrock - Germany

1972 - Faust So Far (Faust)  
Krautrock - Germany

1972 - Close to the Edge (Yes)  
Progressive Rock - English

1972 - Exille on Main St. (Rolling Stones)  
Rock - English

1972 - Rise & Fall of Ziggy Stardust & the Spiders from Mars (David Bowie)  
Rock - English

1973 - IV (Faust)  
Krautrock Germany

1973 - The Payback (James Brown)  
R&B - America

1973 - Innervissions (Stevie Wonder)  
R&B - America

1973 - Dark Side of the Moon (Pink Floyd)  
Rock - English

1974 - Music in 12 Parts (Phillip Glass)  
Classical - America
Probably the most hypnotic music I've ever heard.  Over 3 hours and 6 discs long - when taken listened to in one sitting, it's quite an unique and indescribable experience.

1974 - Symphony #1 (Alfred Schniqute)  
Classical - Russian

1974 - Sextant (Herbie Hancock)  
Fusion - America
Herbie may be more recognized for his work later on in the decade, but none have the psychedelic intensity and primitive groove of this recording.  All the Mwandishi band recordings show an evolution to this sound, which would be a huge influence on many genres to come.

1974 - You (Gong)  
Progressive Rock - France

1974 - Natty Dread (Bob Marley)  
Reggae - Jamaica

1974 - On the Beach (Neil Young) 
Rock - Canada

1975 - Blood on the Tracks (Bob Dylan)  
Folk - America

1975 - Mothership Connection (Parliament)  
Funk - America

1975 - Stolen Moments (Oliver Nelson)  
Jazz - America

1976 - Einstein on the Beach (Phillip Glass)  
Classical - America
By far the coolest opera written in the 20th century that I've heard.  Surrealist, absurdist, minimalist, psychedelic and hypnotic.


1976 - Super Ape (Lee Scratch Perry & the Upsetters)  
Dub - Jamaica
The greatest dub album ever.

1976 - Black Market (Weather Report)  
Fusion - America

1976 - Bright Size Life (Pat Metheny)  
Jazz - America

1976 - Ramones (The Ramones)  
Punk - America

1977 - Trans-Europe Express (Kraftwerk) 
Krautrock - Germany

1977 - Marque Moon (Television)  
Punk - America

1977 - Exodus (Bob Marley)  
Reggae Jamaica

1978 - Ambient 1: Music for Airports (Brian Eno)  
Ambient - English

1978 - Music for 18 Musicians (Steve Reich)  
Classical - America
Info about different recordings of this piece

1978 - Pat Metheny Group (Pat Metheny Group)  
Fusion - America

1978 - Laniquity (Sun Ra)  
Fusion - America

1979 - London Calling (The Clash)
Punk English

1979 - Unknown Pleasures Joy Division  
Post-Punk English

THE 80s

1980 - Ambient 3 (Brian Eno)  
Ambient - English

1980 - Harmoinum (John Adams)  
Classical - America

1980 - Lesson No. 1 (Glen Branca)  
Experimental - America

1980 - Fresh Fruit for Rotting Vegetables (The Dead Kennedys)  
Hardcore Punk - America

1980 - Remain in Light (Talking Heads)  
Post-Punk - American

1981 - Dolem Music (Meredith Monk)  
Classical - America

1982 - Big Science (Laurie Anderson)  
Experimental - America

1982 - Number of the Beast (Iron Maiden)  
Metal - English

1982 - Thriller (Michael Jackson)  
R&B - America

1982 - 1999 (Prince)  
Rock - America

1983 - Murmer (R.E.M.)  
Post-Punk - America

1984 - Frates/Tabula Rasa (Arvo Part)  
Classical - Estonian

1984 - Purple Rain (Prince)  
Rock - America

1985 - Psychocandy (The Jesus & Mary Chain)  
Post-Punk - Scottish

1985 - Raindogs (Tom Waits)  
Rock - America

1986 - Planet Rock (Afrika Bambaataa)  
Hip-Hop - America
best. music. video. ever. 

1986 - Master of Puppets (Metallica)  
Thrash Metal - America

1986 - Reign in Blood (Slayer) 
Thrash Metal - America

1986 - The Queen is Dead (The Smiths)  
Post-Punk - English

1987 - Paid in Full (Eric B & Rakim)  
Hip-Hop - America

1987 - Sister (Sonic Youth)  
Post-Punk - America

1987 - The Joshua Tree (U2)  
Rock - Irish

1988 - It Takes a Nation of Millions to Hold Us Back (Public Enemy)  
Hip-Hop - America

1988 - Critical Beatdown (Ultramagnetic MCs)  
Hip-Hop - America

1988 - Daydream Nation (Sonic Youth)  
Post-Punk - America

1989 - Different Trains/Electric Counterpoint (Steve Reich)  
Classical - America

1989 - Deep Listening (Pauline Oliveros)  
Classical  America

1989 - 3 Feet High & Rising (De La Soul)  
Hip-Hop - America

1989 - Paul's Boutique (Beastie Boys)  
Hip-Hop - America

1989 - Doolittle (The Pixies)  
Post-Punk - America

1989 Disintigration The Cure  
Post-Punk English

THE 90S:

1990 - Naked City (John Zorn)  
Experimental - America

1991 - The Orb's Adventures Beyond the Ultraworld (The Orb)  
Electronic - English

1991 - Nevermind (Nirvana)  
Grunge - America

1991 - Low End Theory (A Tribe Called Quest)  
Hip-Hop - America

1991 - Goat (The Jesus Lizard)  
Noise-Rock - America

1991 - Spiderland (Slint)  
Post-Rock - America

1991 - Laughing Stock (Talk Talk)  
Post-Rock - English

1991 - Loveless (My Bloody Valentine)  
Shoe-gaze - Irish

1992 - Selected Ambient Works (Aphex Twin)  
Electronic - English

1992 - Bizarre Ride 2 the Pharcyde (The Pharcyde)  
Hip-Hop - America

1992 - Slanted & Enchanted (Pavement)  
Rock -America

1993 - Untitled II (Orbital)  
Electronic - English

1993 - Siamese Dream (Smashing Pumpkins)  
Grunge - America

1993 - Midnight Marauders (A Tribe Called Quest)  
Hip-Hop - America

1993 - Enter the Wu-Tang: 36 Chambers (Wu-Tang Clan)  
Hip-Hop - America
It took me a little bit to get past how ghetto the Wu are since most of what I listen to is pretty far from...but both this and GZA's solo debut "Liquid Swords" both are strong competitors for the greatest hip-hop album of all time.  It's kind of traditional in some ways - evolving from rap-battle stuff, where the violence is metaphorical for the MC's lyrical abilities and rooted in mathematics (similar to older guys like Rakim).  But then it's more out there in other ways, such as the beats with samples ranging from jazz to kung-fu flicks and horror soundtracks.  

1993 - The Tau of Mad Phat Young (Steve Coleman & the Five Elements)  
Jazz - America

1994 - Illmatic (Nas)  
Hip-Hop - America

1994 - Dummy (Portishead)  
Trip-Hop - English

1995 - Tri Repeate (Autechre)  
Electronic - English

1995 - Iaora Tahiti (Mouse on Mars)  
Electronic - Germany

1995 - Liquid Swords (GZA)  
Hip-Hop - America

1995 - A Live One (Phish)  
Jam-Band - America

1995 - Red Medicine (Fugazi)  
Post-Hardcore - America

1996 - Odelay (Beck)  
Alternative - America

1996 - Soundtrack for the Blind Swans  
Experimental America

1996 - Entroducing (DJ Shadow)  
Hip-Hop - America

1996 - Emperor Tomato Katchup (Stereolab)  
Post-Rock - French

1997 - OK Computer (Radiohead)  
Alternative - English

1997 - Asyla (Thomas Ades)  
Classical - English

1997 - Richard D James Album (Aphex Twin)  
Electronic - English

1997 - Homogenic (Bjork)  
Electronic - Iceland

1997 - Perfect from Now On (Built to Spill)  
Indie Rock - America

1997 - I Can Hear the Heart Beating as One (Yo La Tengo)  
Indie Rock - America

1997 - TNT (Tortoise)  
Post-Rock - America

1997 - F#A# ∞ (Godspeed You! Black Emperor)  
Post-Rock - Canada

1998 - Music Has Rotten One Note (Squarepusher)  
Electronic - America

1998 - LP 5 (Autechre)  
Electronic - English

1998 - Music has the Right to Children (Boards of Canada)  
Electronic - Scottish

1998 - In the Aeroplane Over the Sea (Neutral Milk Hotel)  
Indie Rock - America

1998 - A Go Go (John Scofield)  
Jazz - America

1999 - I See a Darkness (Bonnie Prince Billy)  
Folk - America

1999 - The Soft Bulletin (The Flaming Lips)  
Indie Rock - America

1999 - The Fragile (Nine Inch Nails
Industrial Rock - America
A more difficult and bleaker record than it's predecessor "The Downward Spiral", but in my opinoin - this album is Trent Reznor's best.

1999 Agentis Banjurus Sigur Ros  
Post-Rock Iceland

THE 2000s

2000 - Kid A (Radiohead)  
Alternative - English

2000 - Since I left You (The Avalanches) 
Electronic - Australia

2000 - Supreme Clientele (Ghostface Killah)  
Hip-Hop - America

2000 - The Moon & Antarctica (Modest Mouse)  
Indie Rock - America

2000 - Alasnoaxis (Jim Black)  
Jazz - America

2000 - Lift Your Skinny Fists Like Antennas to Heaven (Godspeed You! Black Emperor)  
Post-Rock Canada

2000 - Voodoo (D'Angelo)  
R&B - America

2000 - Mama's Gun (Eryka Badu)  
R&B - America

2001 - Endless Summer (Fennesz)  
Electronic - Austria

2001 - Go Plastic (Squarepusher)  
Electronic - English

2001 - The Next Step (Kurt Rosenwinkel)  
Jazz - America

2001 - Bill Frissell with Dave Holland and Elvin Jones (Bill Frissell)  
Jazz - America

2001 - Standards (Tortoise  
Post-Rock America

2001 - Lateralus (Tool)  
Rock - America

2002 - The Light that Fills this World (John Luther Adams)  
Classical - America

2002 - The Disintegration Loops (William Basinski)  
Experimental - America
The first one is really the only one you need to hear. But if you dig that one definitely worth digging into the other loops as well.

2002 - Madvillany (Madvillan)  
Hip-Hop - America

2002 - Yankee Hotel Foxtrot (Wilco)  
Indie-Rock - America

2002 - You Forgot it in People (Broken Social Scene)  
Indie-Rock - Canada

2002 - Largo (Brad Mehldau)  
Jazz - America

2002 - & Yet & Yet (Do Make Say Think)  
Post-Rock - Canada

2003 - The Lemon of Pink (The Books)  
Folk-tronica - America

2003 - These are the Vistas (The Bad Plus)  
Jazz - America

2003 - Extended Plays Live at Birdland (The Dave Holland Quintet)  
Jazz - English

2003 - Mystic Chords & Sacred Spaces (Steve Roach)  
New-Age - America

2004 - Funeral (Arcade Fire)  
Indie-Rock - Canada

2004 - I, Claudia (The Claudia Quintet)  
Jazz - America

2005 - The Ghetty Adress - Dirty Projectors  
Indie-Rock - America

2005 - Frances the Mute (The Mars Volta)  
Progressive-Rock - America
A crazy mind-fuck of a concept album.  Very much a revival of the 70s progressive rock era, doused in psychedelia, and psychological drama.  Lyrically the album tells a story that is allegorical, multi-layered, and contains quite a twist in the title track which doesn't apear on the album (which is considered the decoder track - reavealing the twist, adding a whole new layer to the story)

2006 - Ys (Joanna Newsom)  
Folk - America

2006 - Donuts (J-Dilla)  
Hip-Hop - America

2006 - Yellow House (Grizzly Bear)  
Indie-Rock - America

2007 - Untrue Web (Burial)  
Dubstep - English

2007 - Boxer (The National)  
Indie-Rock - America

2007 - Follow the Red Line (Chris Potter)  
Jazz - America

2007 - Mirrored (Battles)  
Math-Rock - America

2008 - Mothertounge (Nico Muhly)  
Classical - America

2008 - Los Angeles (Flying Lotus)  
Electronic - America

2009 - Merriweather Post Pavilion (Animal Collective)  
Electronic - America

2009 Kamal the Abstract  Q-Tip  
Hip-Hop America

2010-2013

2010 - 2X5 (Steve Reich)  
Classical - America

2010 - I See the Sign (Sam Amidon)  
Folk - America

2010 - One Armed Bandit (Jaga Jazzist)  
Jazz - Norwegian

2010 - I Speak Fula (Bassekou Kouyaté & Ngoni Ba)  
World - Mali

2011 - New History Warfare Vol. 2: Judges (Colin Stetson)  
Classical - America

2011 - Black Up (Shabazz Palaces)  
Hip-Hop - America

2012 - Good Kid Mad City (Kendrick Lamar)  
Hip-Hop - America

2012 - The Money Store (Death Grips)  
Hip-Hop - America

2012 - Accelerando (Vijay Iyer)  
Jazz - America

2012 - Numerology (David Gilmore)  
Jazz -America

2012 - Nik Bartsch Ronin Live (Nik Bartsch Ronin)  
Jazz - Swiss

2013 - Without a Net (Wayne Shorter Quartet)
Jazz - America

2013 - Virgins (Tim Heckler)  
Experimental - America

No comments:

Post a Comment