Top 11 Music Albums of 2000 by 
DriftingOrpheus 
- Chart updated: 10/06/2024 06:15
- (Created: 06/12/2020 14:04).
- Chart size: 11 albums.
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I've never found the old saying "Less is more" to be notably applicable when it came to appreciating music. Often, I've been drawn to a sonic strategy that incorporates a great deal of moving parts, riddled with crushing crescendos and soul-shaking moments of softness. After OK Computer, a sector of Radiohead fans were left a bit perplexed with mouths agape, palms firmly upturned to the sky as they found far "less" with 2000's Kid A. They were wrong.
It's true there are a startling lack of traditional instrumentation here, but the band has never upped the ante like this before or since. While the group had previously made stellar, conscious efforts to avoid being pigeonholed, Kid A marked the planting of a flag which flew colors of musical experimentation and encased Radiohead in the annals of music history as they stared down the barrel of studio pressures for a 'conventional' LP. What the band hand-delivered towards the end of 2000, as the shadow of an unfulfilled Y2K dissipated, was their vision of an approaching apocalypse that would be patient in temperament and self-inflicted.
A dystopian, shivering piece of art, depicting a future that has completely gone metallic, Kid A is the brain's answer to OK Computer's heart. It was here where the marriage of the band and synthesizer incorporation was fused as they devised chemical processes like crazed alchemists in order to weld tracks which could survive both boiling heat and glacial cold. The opening tones of Everything in its Right Place encapsulate a sound which would soon serve as an idiosyncratic anthem as Radiohead firmly shook the hand of the 21st century. The skittering, emergency siren of Idioteque snags a snapshot of a world on the brink of collapse, too preoccupied to sense impending armageddon. Finally, the faux comfort of better times evaporates during the final moments of Motion Picture Soundtrack, ending the album with metaphorical hands full of ash.
Radiohead didn't redefine the rock record with Kid A, for there is no all-encompassing definition. What the band truly managed, was the elusive task of redefining themselves, synchronously altering expectations for their subsequent work and thrusting headlong into an unbroken cycle of phoenix-like reincarnation and reinvention bedizened with staggering success.
"Who's in a bunker? Who's in a bunker? I have seen too much. I haven't seen enough."
- Idioteque
Standout Tracks:
1. Idioteque
2. How to Disappear Completely
3. Everything in its Right Place
102.2 [First added to this chart: 06/12/2020]
It's true there are a startling lack of traditional instrumentation here, but the band has never upped the ante like this before or since. While the group had previously made stellar, conscious efforts to avoid being pigeonholed, Kid A marked the planting of a flag which flew colors of musical experimentation and encased Radiohead in the annals of music history as they stared down the barrel of studio pressures for a 'conventional' LP. What the band hand-delivered towards the end of 2000, as the shadow of an unfulfilled Y2K dissipated, was their vision of an approaching apocalypse that would be patient in temperament and self-inflicted.
A dystopian, shivering piece of art, depicting a future that has completely gone metallic, Kid A is the brain's answer to OK Computer's heart. It was here where the marriage of the band and synthesizer incorporation was fused as they devised chemical processes like crazed alchemists in order to weld tracks which could survive both boiling heat and glacial cold. The opening tones of Everything in its Right Place encapsulate a sound which would soon serve as an idiosyncratic anthem as Radiohead firmly shook the hand of the 21st century. The skittering, emergency siren of Idioteque snags a snapshot of a world on the brink of collapse, too preoccupied to sense impending armageddon. Finally, the faux comfort of better times evaporates during the final moments of Motion Picture Soundtrack, ending the album with metaphorical hands full of ash.
Radiohead didn't redefine the rock record with Kid A, for there is no all-encompassing definition. What the band truly managed, was the elusive task of redefining themselves, synchronously altering expectations for their subsequent work and thrusting headlong into an unbroken cycle of phoenix-like reincarnation and reinvention bedizened with staggering success.
"Who's in a bunker? Who's in a bunker? I have seen too much. I haven't seen enough."
- Idioteque
Standout Tracks:
1. Idioteque
2. How to Disappear Completely
3. Everything in its Right Place
102.2 [First added to this chart: 06/12/2020]
Year of Release:
2000
Appears in:
Rank Score:
48,499
Rank in 2000:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
556
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These days, it's hard to quantify what qualifies for a musical experience. The medium is far more effortless to acquire and therefore more digestible. Long gone are the days of purchasing a vinyl record and making a memory out of that process. I am, by no means, a relic of an older, simpler time (despite my pension to purchase countless vinyl pressings). However, I can attest to the communal nature of said activity. Knowing that you have sunk hard earned money into what is essentially a whim or a headed recommendation. There's always inherent risk. Perhaps more interesting, is the communal, even baptismal encounters that arise from listening to an album. A transfiguration of either heart, mind or soul or, if you're lucky, all three simultaneously. Lift Your Skinny Fists Like Antennas to Heaven is nearly an hour and a half long, consisting of just four tracks that clock in at almost 20 minutes each. It's not digestible, convenient or immediate. It is however, baptismal in the sense that after fighting against its raging waters of spiraling downfall, you emerge altered. It tells us so much without a single lyric by being relentlessly reflective, critical and emotionally arresting. It's a story of epic struggle, triumph and rebirth with no words.
Godspeed You! Black Emperor begins their definitive LP with Storm which appropriately begins as a soft flutter of forming clouds represented by gentile piano and horns. The track then glows with shimmering strings before crashing in with an extensive drum march. It evolves into a kaleidoscopic frenzy of what seems like improvisation before recoiling back into a reserved simmer, giving you time to absorb the grandeur of the previous movement. Don't ponder too long because Storm angers into a tornado fury on the second half of the 22 minute cut. It's powered by bruising drum hits and shrieking guitar that finally relent into a grocery store sample (of all things) before exiting with a sullen, reverbed piano outro. Second track, Static, is less cyclonic but arguably many shades darker. It begins with a drone that wouldn't be out of place on an ambient record before swelling into a sermon delivered by a zealot with strings that can be only described as "weeping". She prophesizes, "Because when you see the face of God, you will die, and there will be nothing left of you, except the God-man, the God-woman, the heavenly man, the heavenly woman, the heavenly child." It's hard to tell if the sample's inclusion is critical of excessive religious fervor or regretful due to a neglect of faith. Perhaps both are fitting. The track then heats to a boil of post-rock rage as guitar and drum motifs, similar to those on Storm, bat the track around with vigor. Static ends with a return to an ambient, metallic hiss not foreign to a horror film soundtrack of the early 2000's.
The third track of the record stands as the valedictorian of the bunch. Sleep starts with a vocal sample credited to Murray Ostril. It typifies the notion, that which impresses our elders holds no significance to this generation. A perpetual trend that is engrained in the human psyche. He mentions Coney Island as if it were the Las Vegas of the East Coast. A rose-colored sentiment of his youth no doubt but this testimony reiterates a baptismal experience of his own, experiencing Coney Island as a child without the collective shrugged shoulders of future generations. He laments, "They called Coney Island the playground of the world. There was no place like it, in the whole world, like Coney Island when I was a youngster. No place in the world like it, and it was so fabulous. Now it's shrunk down to almost nothing, you see." The track swoons with a whirring wail which harnesses into a driving drum locomotive which then quiets minutes later. Sleep then morphs into a twinkling, meditative passage that prioritizes Sophie Trudeau's violin and the drumming twosome of Aidan Girt and Bruce Cawdron. It's the first song on the LP that doesn't end in enveloping quiet but, instead, follows the lead of the percussive duo to lead the track out. Finally, Antennas to Heaven rounds out the album with what can be described as a snippet of bluegrass kicking off the track. Glimmering, child-like piano drifts into a sample of conversing French children before Antennas begins in earnest. It's without hesitation the most thematically positive of the lot, with the first major movement embodying the musical equivalent of the promise of a better future. Antennas then lies in wait for a short period, revisiting the utilization of melancholic piano strikes before familiar, clean drum hits join the fray. It forms a rising tide in the final quest for uplift both spiritually and in musical timbre. It doesn't last forever as the track concludes with icy, anxious noise that challenges any claim that the incorporeal conclusion was a positive one.
Canada's Godspeed You! Black Emperor are no strangers to long-form artistic statements. Their last album effort was 1997's F#A#∞, an album that put them among gloomy, eclectic music's elite. Still, Lift Your Skinny Fists Like Antennas to Heaven transmits a higher emotional resonance. The music carries in such a way that makes you resign to the idea that it could not be created by anyone else at any other time. This is achieved by sometimes appearing to be improvisational within each of the movements during mammoth tracks, while coinciding with such a technical proficiency that is fine tuned to the note. This gives the album a human unpredictability and allows for surprise each and every time it's listened to. Many could gander at the tracklisting and harbor perceptions of ostentation, however, the album is entrenched in humility with only the sonic prowess perpetuating flair. The humility comes from a place of vulnerability, fallibility and a sense of regret. All of these themes are communicated through wordless, harmonious odysseys that are concurrently nostalgic and worrisome of what the future will hold. Lift Your Skinny Fists Like Antennas to Heaven is a four track triumph of sound and vision that could suffice as a lifetime of work for some artists. It's a clam that harbors a pearl of experience that radiates a different kind of beauty for each and every listener. One that revisits you each and every time you revisit the album.
"And we used to sleep on the beach here,
sleep overnight.
They don't do that anymore.
Things changed...
You see,
They don't sleep anymore on the beach."
-Sleep
Standout Tracks:
1. Sleep
2. Static
3. Antennas to Heaven
89.7 [First added to this chart: 06/12/2020]
Godspeed You! Black Emperor begins their definitive LP with Storm which appropriately begins as a soft flutter of forming clouds represented by gentile piano and horns. The track then glows with shimmering strings before crashing in with an extensive drum march. It evolves into a kaleidoscopic frenzy of what seems like improvisation before recoiling back into a reserved simmer, giving you time to absorb the grandeur of the previous movement. Don't ponder too long because Storm angers into a tornado fury on the second half of the 22 minute cut. It's powered by bruising drum hits and shrieking guitar that finally relent into a grocery store sample (of all things) before exiting with a sullen, reverbed piano outro. Second track, Static, is less cyclonic but arguably many shades darker. It begins with a drone that wouldn't be out of place on an ambient record before swelling into a sermon delivered by a zealot with strings that can be only described as "weeping". She prophesizes, "Because when you see the face of God, you will die, and there will be nothing left of you, except the God-man, the God-woman, the heavenly man, the heavenly woman, the heavenly child." It's hard to tell if the sample's inclusion is critical of excessive religious fervor or regretful due to a neglect of faith. Perhaps both are fitting. The track then heats to a boil of post-rock rage as guitar and drum motifs, similar to those on Storm, bat the track around with vigor. Static ends with a return to an ambient, metallic hiss not foreign to a horror film soundtrack of the early 2000's.
The third track of the record stands as the valedictorian of the bunch. Sleep starts with a vocal sample credited to Murray Ostril. It typifies the notion, that which impresses our elders holds no significance to this generation. A perpetual trend that is engrained in the human psyche. He mentions Coney Island as if it were the Las Vegas of the East Coast. A rose-colored sentiment of his youth no doubt but this testimony reiterates a baptismal experience of his own, experiencing Coney Island as a child without the collective shrugged shoulders of future generations. He laments, "They called Coney Island the playground of the world. There was no place like it, in the whole world, like Coney Island when I was a youngster. No place in the world like it, and it was so fabulous. Now it's shrunk down to almost nothing, you see." The track swoons with a whirring wail which harnesses into a driving drum locomotive which then quiets minutes later. Sleep then morphs into a twinkling, meditative passage that prioritizes Sophie Trudeau's violin and the drumming twosome of Aidan Girt and Bruce Cawdron. It's the first song on the LP that doesn't end in enveloping quiet but, instead, follows the lead of the percussive duo to lead the track out. Finally, Antennas to Heaven rounds out the album with what can be described as a snippet of bluegrass kicking off the track. Glimmering, child-like piano drifts into a sample of conversing French children before Antennas begins in earnest. It's without hesitation the most thematically positive of the lot, with the first major movement embodying the musical equivalent of the promise of a better future. Antennas then lies in wait for a short period, revisiting the utilization of melancholic piano strikes before familiar, clean drum hits join the fray. It forms a rising tide in the final quest for uplift both spiritually and in musical timbre. It doesn't last forever as the track concludes with icy, anxious noise that challenges any claim that the incorporeal conclusion was a positive one.
Canada's Godspeed You! Black Emperor are no strangers to long-form artistic statements. Their last album effort was 1997's F#A#∞, an album that put them among gloomy, eclectic music's elite. Still, Lift Your Skinny Fists Like Antennas to Heaven transmits a higher emotional resonance. The music carries in such a way that makes you resign to the idea that it could not be created by anyone else at any other time. This is achieved by sometimes appearing to be improvisational within each of the movements during mammoth tracks, while coinciding with such a technical proficiency that is fine tuned to the note. This gives the album a human unpredictability and allows for surprise each and every time it's listened to. Many could gander at the tracklisting and harbor perceptions of ostentation, however, the album is entrenched in humility with only the sonic prowess perpetuating flair. The humility comes from a place of vulnerability, fallibility and a sense of regret. All of these themes are communicated through wordless, harmonious odysseys that are concurrently nostalgic and worrisome of what the future will hold. Lift Your Skinny Fists Like Antennas to Heaven is a four track triumph of sound and vision that could suffice as a lifetime of work for some artists. It's a clam that harbors a pearl of experience that radiates a different kind of beauty for each and every listener. One that revisits you each and every time you revisit the album.
"And we used to sleep on the beach here,
sleep overnight.
They don't do that anymore.
Things changed...
You see,
They don't sleep anymore on the beach."
-Sleep
Standout Tracks:
1. Sleep
2. Static
3. Antennas to Heaven
89.7 [First added to this chart: 06/12/2020]
Year of Release:
2000
Appears in:
Rank Score:
14,124
Rank in 2000:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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88.9
[First added to this chart: 03/13/2022]
Year of Release:
2000
Appears in:
Rank Score:
1,410
Rank in 2000:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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87.9
[First added to this chart: 12/07/2022]
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86.8
[First added to this chart: 06/19/2023]
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85.6
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80.8
[First added to this chart: 03/02/2024]
Year of Release:
2000
Appears in:
Rank Score:
8,318
Rank in 2000:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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78.4
[First added to this chart: 06/12/2020]
Year of Release:
2000
Appears in:
Rank Score:
9,576
Rank in 2000:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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78
[First added to this chart: 06/12/2020]
Year of Release:
2000
Appears in:
Rank Score:
952
Rank in 2000:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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77.4
[First added to this chart: 06/12/2020]
Total albums: 11. Page 1 of 2
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Top 11 Music Albums of 2000 composition
| Artist | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 王菲 [Faye Wong] | 1 | 9% | |
| Dirty Three | 1 | 9% | |
| The Avalanches | 1 | 9% | |
| Modest Mouse | 1 | 9% | |
| Gas | 1 | 9% | |
| Cancerslug | 1 | 9% | |
| Boris | 1 | 9% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
|
|
|
| |
3 | 27% | |
 |
2 | 18% | |
 |
1 | 9% | |
 |
1 | 9% | |
 |
1 | 9% | |
 |
1 | 9% | |
 |
1 | 9% | |
| Show all | |||
Top 11 Music Albums of 2000 chart changes
| Biggest fallers |
|---|
| Down 1 from 6th to 7th Since I Left You by The Avalanches |
| Down 1 from 7th to 8th The Moon & Antarctica by Modest Mouse |
| Down 1 from 8th to 9th Pop by Gas |
| New entries |
|---|
 Whatever You Love, You Areby Dirty Three |
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Other year charts by DriftingOrpheus
(from the 2000s)| Title | Source | Type | Published | Country |
|---|---|---|---|---|
| Top 9 Music Albums of 2009 | DriftingOrpheus | 2009 year chart | 2024 | |
| Top 10 Music Albums of 2008 | DriftingOrpheus | 2008 year chart | 2024 | |
| Top 17 Music Albums of 2007 | DriftingOrpheus | 2007 year chart | 2024 | |
| Top 8 Music Albums of 2006 | DriftingOrpheus | 2006 year chart | 2024 | |
| Top 9 Music Albums of 2005 | DriftingOrpheus | 2005 year chart | 2024 | |
| Top 13 Music Albums of 2004 | DriftingOrpheus | 2004 year chart | 2024 | |
| Top 13 Music Albums of 2003 | DriftingOrpheus | 2003 year chart | 2024 | |
| Top 9 Music Albums of 2002 | DriftingOrpheus | 2002 year chart | 2024 | |
| Top 14 Music Albums of 2001 | DriftingOrpheus | 2001 year chart | 2024 | |
| Top 11 Music Albums of 2000 | DriftingOrpheus | 2000 year chart | 2024 | |
Top 11 Music Albums of 2000 ratings
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We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.