The top ten American Indie songs of the 2000s

All right sir. I'll match your top ten+1. Let me make a clear distinction between your top ten and my top ten. First, when I say American, I mean red-white-and-blue, US of A, apple pie eating, corn-fed Americans. None of this Canadian business. Which means you! You, Arcade Fire are not even considered in this list, even though you would have made it if you had been American. (For all of you nauseating pansies out there who weakly cough "But Doug, Win Butler is from Texas!" I say, "He don't want to live in America no more. And they say they're from Montreal. So that settles it.") Also you Stars and you Unicorns are not up for consideration except I don't think that you would have made it. (Except Sea Ghost is pretty awesome...)



So, here we go. I don't think they are in any order except for the number one song. I purposely do this because my boss always requires me to arrange things in a logical order and I cannot stand the thought of doing that here, in this blog.



Number one song: (There's never really a reason to do the whole countdown business except to build anticipation. As far as I can tell, there is no anticipation whatsoever associated with this list, so I shall eschew the countdown format)

Stray Dog and the Chocolate Shake - Grandaddy. That's right. Infectious, bouncy, goofy, hilarious, and downright awesome. It embodies the best aspects of indie which are: that there are no set aspects as to what indie should be. Pretty much a song about futuristic Modesto from what I can tell. This is the moment where everything Grandaddy strived to be over the course of four albums coalesced into perfection. It's a song about the future, the mundane, and the weird. Every time I listen to it, it reminds me of growing up in Orem in the 1980s with all the dirt and the heat and the bugs and the brown foothills and the things in the beds of rusted out dirty trucks. I've used the synth line to describe a vacation driving down Highway One from Seattle to San Francisco. Oh, and the boys love it. Every night, Stray Dog is requested and they both shout out "It's magic!" and "A little trick" at the appropriate times. Anyway, this is it, the top song of the last decade.

Now the remaining nine...

Styrafoam Plates - Death Cab for Cutie. From the opening stanza of Ben Gibbard's father's ashes being blown back into his face, stinging his eyes, and his saying that this was par for the course, I was hooked. It's the ultimate indie confessional track. Bitter, jaded, and best of all, real. I've mentioned before that I would pay full price for a DCFC concert just to see Gibbard sing this live with all the bitterness and resentment as represented in the recording. Even better, the band really bangs and clatters well at the right moments, specifically when Gibbard is fuming and saying things like "You're a disgrace to the concept of family" which the preacher certainly is not discussing at the funeral. Best DCFC track and it kinda makes you wish they were a little more aggressive and a little less coy.

The Late Greats (live) - Wilco. Only the live version of this song is in the top ten. The recorded version is somewhat muffled and lifeless. Which is what makes the live version of this song so stunning. I always think I can sing along with the lyrics, and then I realize I don't know the lyrics, and I'm not sure I even know what he's talking about except some sort of lament that the greatest songs and bands are not the ones that are well known. But it's a great driving song, and the brief instrumental part where the bass and the piano and the guitar all hit perfectly together is just one of those transcendental music moments, the appeal to the non-thinking part of my brain.

The Dark is Rising - Mercury Rev. I had never thought that the music I listened to (I cannot call it rock, nor can I call it popular) could be like this. A huge orchestral swell to begin, fading to a piano, and an off-key meek sad voice singing a sad sad song. And it wasn't the guitars that thrilled me...it was when the violin came in sweetly in one verse and then a french horn in another. The lyrics were so simple and so sad. Not bitter and raging just sad and lost. So, this song represents the best of the chamber/orchestral/baroque aspect of the indie scene.

Even Numbers - The Standard. There is a scene from a Tiny Toons where Buster Bunny is pretending to be a ghost and he is playing a Bach piece on the harp that is high, ethereal, and haunting. It always gave me chills. It felt eternal, in a weird way. My mother-in-law has the piece of music for piano in Nevada, and I found it and tried playing it and I gave myself the chills but I was playing so badly that I stopped. Anyway, the high piano line in Even Numbers does this to me every time. Just gives me that same hair-raising feeling. And it had movements! Movements professor! It's like a classical piano piece with guitars and vocals that sound like the guy is a sheep. Which brings me to the next song...

Leif Erikson - Interpol. As with Even Numbers, this song has that ethereal, haunted feel, which is amplified by the baritone of the lead singer. It's so much in the same vein as Even Numbers, that I don't think I need to say much more beyond it's one of those songs that I would sing in a haunted house full of non-menacing but slightly creepy ghosts.

Same Boy You've Always Known - White Stripes. I'm not sure why but this song absolutely thrills me. It's like one of those songs that seems to have always existed that Jack White pulled from the ether and recorded it. Just a song that seemed so familiar when I heard it that I felt like I had been born with that tune inside me.

The War Criminal Rises and Speaks - Okkervil River. This represents the brilliant songwriter section of the indie universe. There are people like Conor Oberst who write silly banter about "When the President Talked to God" and think they are deep. And then there's the harrowing story spun by Will Sheff about cruising through a town full of strip malls and big box shops and then finding out about the capture of an old war criminal who's being tried for his bloody crimes. And while he recognizes he's done something horrible, he can't believe it happened to him, that he fell out of his boring life and did something like that. And how the person driving in soul-sucking middle America refuses to imagine that something like that could happen to him. Which makes you think, what would I do in that situation? Would I also fall prey to the demons insides, the worst instincts? How do you prevent it? I find it thought provoking. Which is why I keep listening. Oh, and it represents that strain of music that realizes that there's more to life than picking apart each emotion from a break-up years earlier to mine more music.

Okay I Believe You But My Tommy Gun Don't - Brand New. It's ironic and brash. It's rocking. It's kinda emo. But it's really smart and cool.

And finally....The Mariner's Revenge Song - The Decemberists. Once again, this song represents the peak of a certain kind of indie song, the multi-instrumental weird narrative. As a fan of the old Pirates computer game, as a fan of all things old and nautical, this song is incredibly awesome. It's one of those songs that I wish I had written. And it's one of those songs I always hoped someone would make, but I never thought would ever come to light.

That's it.

Top 10+1 Songs of the 2000's. And No I'm Not Going To Listen to Another New Song Until the End of the Decade.

In chronological order by release year:

1. "Hotel Yorba" (2001) The White Stripes
2. "Radio Cure" (2002) Wilco
3. "The Velocity of Saul at the Time of His Conversion" (2003) Okkervil River
4. "The District Sleeps Alone Tonight" (2003) The Postal Service
5. "Glenn Tipton" (2003) Sun Kil Moon
6. "Neighborhood #4 (7 Kettles)" (2004) The Arcade Fire
7. "Tuff Luff" (2004) The Unicorns
8. "Land Locked Blues" (2005) Bright Eyes
9. "Trance Manual" (2005) John Vanderslice
10. "The Geese of Beverly Road" (2005) The National
11. "The Beast and Dragon, Adored" (2005) Spoon