'00s

Source: Vulture, Piotr OrlovPiotr, a former colleague from Rhapsody, recently surveyed various purveyors of New York cool (Tim Sweeney, Star Eyes, Rich Medina, etc) for the quintessential list of New York party starters. Note that these arent songs by New Yorkers, per se, but rather tracks that the selected tastemakers felt were the key bangers. The results arent terribly surprising -- lots of DFA, Jay-Z, and Dip Set -- but its a really fun list with a lot of very enjoyable music. The Escort track "Cocaine Blues" is a satisfying mix of electro pop and nu-disco, with appropriately vaguely ironic lyrics about everyones favorite boogie powder, and the samba/afrobeat hybrid "Revolution Poem" is taken from a cool afro-beat compilation by Rich Medina and Bobbito that I wasnt familiar with. This article originally came out in June, but has gotten a second life thanks in part due to The Rub kicking off a new night at Williamsburg club Verboten with a mix inspired by Piotrs list. You can listen to the mix here.

In his intro for the "article," FACT editor-in-chief Joe Muggs makes an interesting distinction:

Well Indietronica, very pleasantly, isn’t really “a thing”. It’s not a scene, it’s not something with clubs or events dedicated to it, it’s not a marketing bracket or a pseudoacademic category, it’s never anything that people would think to say they’re into. It sometimes feels more an agglomeration of things that have fallen between the cracks of cool, an ad-hoc arrangement of dweebs, dorks and hobbyists all finding quiet corners of the music world where they can get on with their own tinkerings unmolested.

To an extent, "Indietronica" is a catch-all for both electronic music tracks with pop song structures, and, conversely, for indie pop tracks with electronic embellishments, both of which are made by musicians who are largely not within mainstream culture, but its a bit of a critical crutch that this list defines too broadly. Hot Chip and even Caribou definitely fit the mold, as where theres a lot more going on in tracks by clOUDDEAD or Sampha than just Indietronica. The latter belongs in the same electronic singer-songwriter tradition as James Blake (whose also included on the list), while cLOUDDEAD fall into the experimental hip-hop camp. Of course, you could also make the case that the point of bands are to resist easily classification altogether. Regardless, this is a really enjoyable and cohesive set of tracks.

You could pretty easily make the case that Chicago is the musical center of the United States. Blues, juke and house all originated (at least in part) from the city. Two-Step (or just Steppin) never achieved the national name recognition as house music, but it was a pretty potent strain of R&B that peaked in the middle half of the last decade. Like a lot of music to emerge in the past thirty years, it was a dance first. The music was bright, romantic and highly syncopated. Its great, summery R&B music. It was popularized nationally by R. Kelly in his "Step in the Name of Love" single, but that was really just the tip of the iceberg, as this excellent playlist demonstrates. Rizoh over at Beats did a great job capturing some of the highlights from the scene. Listening now, it definitely feels of a certain time and place, and it seems very out-of-step with the more dour and minimal sounds the genre would adopt in subsequent years, which makes two step even more powerful.

How fitting that James Murphy released his last album in 2010, for LCD Soundsystem lives in a climate-controlled space where college students and post grads, downloading songs onto their new smartphones, got excited about voting for Barack Obama. To say the music is “dated” is redundant—all music sounds like the time in which it was recorded. Also wrong. If anything, the collar-loosening white boy boogie of “Dance Yrself Clean” and “Daft Punk is Playing in My House” predated the ways in which the Silicon Valley ethos of app-ready affluence established itself in the last three to five years: dancing to “I Feel It Coming” after a few pints of the local microbrew. LCD’s 2010 show at the Fillmore presented the act at its best, with Murphy and Nancy Whang trading instruments and losing themselves to the music. He started losing me with the singer-songwriter material that won him praise a decade ago: all that “In My Life” stuff. I included a couple moments anyway because I won’t renounce my past.Visit our affiliate/partner site Humanizing the Vacuum for great lists, commentary, and more.

For electronic fans of a certain age, French Touch (or, as it’s also known, “French House) owned the 90s. Marrying the plop disco with the peaking phaser effects, Ed Banger, Daft Punk, Kavinsky, and Cassius provided the soundtrack to many late nights (and early mornings). The music was sexy and fun, and was the most commercially dominant type of electronic music in the States until EDM reared it’s ugly head in. This Apple Music playlist is a little jerky in terms of its flow and pacing, and “Heatwave” if from ‘00, but it contains some great remixes from the genre and succinctly sums that particular time and place.

This post is part of our Psych 101 program, an in-depth, 14-part series that looks at the impact of psychedelia on modern music. Want to sign up to receive the other installments in your inbox? Go here. Already signed up and enjoying it? Help us get the word out by sharing it on Facebook, Twitter or just sending your friends this link. Theyll thank you. We thank you.Los Angeles’ beat scene was always loose by design. Though it had a very specific and physical home—Low End Theory, a club night that still happens every Wednesday at The Airliner in L.A.—the music is more mercurial, with innumerable sub-genres flourishing and swiftly fading. The architects of the scene understood that tying themselves to any one sound meant desertion when the wave inevitably crashed. So, the music was omnivorous, encompassing rap, IDM, psychedelia, turntablism, dance music, trap, jazz, ambient, trip-hop, and spiritual music.The resulting milieu produced a body of work that is nearly unparalleled in hip-hop and modern electronic music, and you can hear the beat scene’s influence in everyone from Thom Yorke and Erykah Badu to Odd Future, Kendrick Lamar,Drake, and Kid Cudi. It transformed L.A. from an electronic-music backwater to a hub of indigenous electronic music culture. And while even casual electronic music fans know its commercial lodestars—Flying Lotus, Thundercat, TOKiMONSTA, Daedelus, et al.—the scene has a deep bench, a psychedelic assortment of mad scientists, Afrofuturists, and avant garde tinkerers that seem like characters ripped out of comic books.The Dowsers has partnered up with The Passion of the Weiss to present an exhaustive look at this scene—complete with an accompanying playlist of definitive tracks. Head here to check out their list of the Top 20 albums, and check out our remix of their list below, which focuses on the 10 artists who defined the movement.

AN ORIGIN STORY, OF SORTSNearly 10 years removed from its release, Flying Lotus’ 2008 album Los Angeles still feels like an anomaly. Most L.A. music evokes sunshine, but FlyLo used techno, bass music, jazz, and hip-hop to sketch a picture of stoned weirdoes marauding through the city’s endless expanse. African percussion collided with IDM sub-frequencies, and Moog licks bounced off record static, conjuring strange, shamanistic imagery. It’s unsurprising that its Afrofuturist grit earned full-throated endorsements from the electronic-music press; the “black Aphex Twin” headlines wrote themselves.And yet despite its electronic bona fides, Los Angeles is hip-hop to the core. Released during a half-decade death spiral of rap’s ’90s generation, and during the South’s ringtone rap phase, Los Angeles didn’t fit. What it did, however, was inspire misfits, both global and local. The irreverent beat science of Odd Future pointed directly to Los Angeles, while Detroit’s Danny Brown calculated what it’d take to rap over music this weird. Soon, an entire scene of blunted beatmakers sprung up both around Low End Theory (Lotus’ performance space of choice) and the internet (where his music was consumed). We’re a decade removed from cloud rap, half a decade from Yeezus, and two years from Future’s DS2, and while we don’t know for sure if Clams Casino, Kanye, or Future heard Los Angeles, the album was the butterfly whose wings indirectly started a rap hurricane where harsh electronic productions became an acceptable canvas over which to brag about sexcapades and Gucci brand footwear.Listen to key tracks from Los Angeles alongside the music that inspired it:

INTO A DARK SILENCENosaj Thing was one of the earliest members of the beat scene, but where his contemporaries tended to produce more fleshed-out sounds, often with a heavy hip-hop influence, Nosaj Thing created a canvas shaded as much by silence as by noise. On his debut album, 2009’s Drift, the beats are dark and exploratory, and, while he couldnt have known it at the time, it has a lot in common with "the drift" of Guillermo del Toros Pacific Rim. In both instances, the drift is a process by which two active participants bond over synchronized brain waves to form a more perfect whole. While del Toro had a specific, mechanical process in mind, Nosaj Thing found a far more organic approach, realizing that (re)creation wasn’t about moving away from the original source as much as it was about moving toward a new one.Listen to key tracks from Drift alongside the music that inspired it:

THE WANDERERGonjasufi has the voice of a man who’s been through the gutter and back. An ancient, rusted-out croon, it’s by turns manic and tender, evoking many days lost in the wilderness, and many more spent re-aligning the chakras. His 2010 release, A Sufi and a Killer, feels like an epic trek, as producers Gaslamp Killer, Mainframe, and Flying Lotus sample a global list of artists to forge soulful, psychedelic beats. The vibe is dirty, and the thunder and rain that comes in at the tail end of “Love of Reign” makes the voyage that much more unnerving. Still, Sufi navigates the landscape with confidence, unleashing a crisp poetry that lays his contradictions bare in an allegorical track about a lion that wishes he were a sheep. When the singer finally finds redemption in “Made”—whose lyrics find a parallel between the coming of spring and the arrival of a paycheck—his voice is feather-light and full of relief.Listen to key tracks from A Sufi and a Killer alongside the music that inspired it:

HEARING IS BELIEVINGTo see The Gaslamp Killer is to believe in The Gaslamp Killer. The Low End Theory co-founder/resident DJ’s wide-ranging sets reside on the brink of chaos, mixing hip-hop, rock, electronic, and all points in between. On stage, he resembles the waving, inflatable man outside of a car dealership, yet the rhythmic flailing isn’t a substitute for pyrotechnics or pre-planned drops. It’s genuine, and he connects without a shred of self-consciousness, guiding audiences with shamanistic conviction.His Brainfeeder debut, 2012’s Breakthrough, captures the intimate, heartfelt lunacy of his live sets. It is the circadian rhythm compressed, shuttling you at breakneck speed from a psychedelic midnight to lucid dawn. “Holy Mt Washington” (with Computer Jay) tempers eviscerating low-end bounce with buoyant, Morricone-inspired whistling. “Peasants, Cripples, & Retards” (with Samiyam) moves from industrial, intergalactic funk to Jamaican dub. The emotive plucking of the yiali tambur by Jogger’s Amir Yaghmai on “Nissim” is backed by Gaslamp’s breakbeat barrage. It remains the standout, a reminder that not every song from the beat scene needed to rattle your body in order to touch your soul.

THE AFROCENTRIC FROM ALPHA CENTAURIRas G is the beat scene’s answer to Sun Ra. His music is an attempt to commune with the constellations, drawing equally from the electronic and analogue. His 2008 album, Brotha From Anotha Planet, is prime headphone listening, a solitary exploration of the soul in twilight hours. Ras G’s willingness to pull back between banging beats, to tie everything together with these oddly comforting intergalactic sound collages, is brilliant. It’s in these moments that we reflect, reminding ourselves of that a celestial experience is visceral as well as cerebral, and attempt to find our place in the universe.

THE FUTURE AT 90 BPMTeebs’ balancing act between subtly and bombast not only served as the M.O. for his 2010 debut, Ardour, but as a mission statement for the beat scene. While early Los Angeles electro used the sparseness of drum machines to rock the party, and DJ Shadow pushed crate digging to its first extremes, Teebs pulls both traditions toward the center, balancing the psychedelic quality of the music with a palpable sonic immediacy. It’s hard to disassociate the somatic contrast between weight and weightlessness from New Yorker Teebs’ adopted sunshine state. Rick Rubin’s beats were born of boomboxes on trains, Detroit techno’s future jazz filled the mechanical void left by shut-down factories, and Ardour was brought to you by dispensary-bought weed cookies and 90 bpm hip-hop records.

AN ALCHEMYShlohmo (a.k.a. Henry Laufer) has a gift for building tension by mining the space between wonder and terror. On 2011’s Bad Vibes, his intricate, skeletal rhythms invite close inspection, and the natural sounds and white noise textures have all the warmth of a down comforter, but the booby-trapped funk of “Just Us”—opening on a thread of light, blurpy synths and then boiling over in a wash of phantom electronics—makes you question just how safe this world really is. Laufer said that he was going through a rough patch when making this album, yet Bad Vibes reflects deeper, more ingrained burdens. Some are consumed by pain, fear, and insecurity, but Shlohmo transformed it into something beautiful.

RAZOR BLADE BEATSIf you stumbled into Low End Theory between 2008 and 2012, you felt Samiyam’s bass hit you so hard that it felt like you had a razor blade in your throat. The Ann Arbor transplant twisted synths into shrapnel, while his drums signaled an imminent sonic destruction. Samiyam’s 2011 release, Sam Baker’s Album, is an instrumental suite that is alternately gorgeous and gargoyle-heavy. Its innately infused with Samiyams grit and filth, and plucks diamonds from dirt, stars in soot, breathing artesian oxygen and then descending into a valley of smog. It reminds you that the beat scene was as far away from Hollywood as it was Hanoi.

JAZZ MUTATIONSThe influence of jazz on the beat scene is more spiritual than aesthetic. Before Kamasi Washington (who came later, and orbited the periphery), the scene produced only one true jazz artist —the young piano prodigy Austin Peralta. Peralta had a reputation as a live performer, and the recordings that have surfaced since his 2012 passing have taken on a near-mythical dimension. They are full of exuberance and wonder, with every chord revealing new avenues of sound. This willingness to push boundaries provides a through-line that connects Peralta to the larger beat scene.But experimentation is hollow without a handle on the fundamentals, and while Peralta’s live sets reached the farthest edges, his most important studio work, Endless Planets, is comparatively conservative. The piano and rhythm section do the bulk of the work, staying comfortably in pocket, with only a sparse smattering of electronics and a few ambient flourishes revealing the album’s progressive modernity. Endless Planets’ relatively reserved approach provides a launching pad for Peralta’s mutations, and established a link between the beat scene and a larger jazz tradition.

8-BIT BOOM RAPThough producer Jonwayne declares that Nintendo DS game Animal Crossing gave him the only semblance of structure in his life—understandable for a guy who used to work at Gamestop—he is first and foremost a hip-hop aficionado. He established his crate-digging bonafides by exalting criminally overlooked Pasadena crew Mad Kap, and he’s a devout follower of the cult of Busta. Still, it’s remarkable how nicely Jonwayne’s two obsessions dovetailed on his 2011 debut, Bowser. The eerie, descending keyboards of “Bowser I (Sigma Head)” evoke a King Koopa rampaging like Ice Cube’s dad in “Down for Whatever,” drunk and threatening to turn the party out, while “Beady Bablo”’s woozy, chiptune interpolation of “Freek-A-Leek” proves that Petey Pablo could have a second career stealing princesses from castles.SaveSaveSaveSave

Typing the words "mp3 blog" in 2018 feels a lot like typing the words "eight-track tape" or "Betamax" or "Friendster"——a snickering acknowledgement of a phenomenon that was once so ubiquitous, yet now feels so distant that its like it never existed. Oh sure, the basic premise of the mp3 blog——"download this cool new song by a band youve never heard before!"——endures across countless music sites these days, and someoftheOGs have miraculously avoided blogger burnout over the course of 15-odd years and/or fortified into robust, well-staffed sites. But gone are the days when mp3 blogs were touted as music-industry disruptors, armchair A&R reps, and your new favorite radio station all in one. (And so too are the days when Clap Your Hands Say Yeah represented the future of indie rock, after taking the online short cut from DIY obscurity to most talked-about band in America seemingly overnight.)"Blog rock" was essentially the "SoundCloud rap" of the 2000s——a nebulously defined subgenre more indicative of where the artists first gained exposure rather than the sound of the music they played. But for all the upheaval the internet had wrought on the music industry, and all the potential it unleashed for underground music scenes around the world, the bands that came to epitomize blog rock were essentially streamlined versions of the dominant indie groups of the day, be it the polished Arcade Fire histrionics of The Black Kids or the plastic Spoon-isms of Sound Team. A lot of the bands on this playlist couldnt bear the weight of the instant online buzz and didnt last longer than an album or two, becoming punchlines in the process in some cases. But in hindsight, blog rock represented another significant step in the ongoing refinement of indie rock——while there may be traces of Sung Tongs-era Animal Collective in The Dodos DNA, its also not a huge leap from the frenetic busker stomp of "Visitor" to the stadium-folk of Mumford & Sons.Presumably, you havent listened to a lot of these songs since you bricked your 80GB iPod Classic sometime in 2009. Heres your chance to revisit all your mid-2000s picks to right-click, without having to worry about your hard-drive capacity.

Broken Social Scene were on a roll in the early ‘00s. After releasing the great, mostly instrumental Feel Good Lost in 2001, their big breakthrough came the following year with the instant classic You Forgot It In People, which achieved a perfect balance of being simultaneously intimate and monumental. Coming up in the middle of the post-millennial indie-rock revival, BSS held their own among bands like The Strokes, Interpol, and The Walkmen. In 2005, they released their masterful and complex self-titled record, which contained a gigantic list of contributing personnel and boasted a 63-minute runtime. BSS were steadily becoming one of the most powerful supergroups in modern rock. Then, they took a sort-of hiatus, and exploded into a diaspora of side-projects before releasing Forgiveness Rock Record in 2010. So what, exactly, did they do during those five years? Okay, take a deep breath.In 2007, Kevin Drew released his first “solo” album, under the title of Broken Social Scene Presents Kevin Drew: Spirit If..., which was followed by what was essentially a Broken Social Scene tour that included tracks from that album and also from their previous records. The following year saw Brendan Canning’s own project, Broken Social Scene Presents Brendan Canning: Something for All of Us… (which featured guest vocals from Drew). Guitarist Andrew Whiteman’s band Apostle of Hustle released the jangly, shuffling National Anthem of Nowhere, whose title track had been road-tested in BSS shows; guitarist, bassist, and horn player Charles Spearin (also of Do Make Say Think) organized an avant-garde record called The Happiness Project. Feist released her mainstream breakthrough The Reminder (whose “I Feel It All” shares DNA with Drew’s “Safety Bricks”); fellow vocalists Emily Haines and Amy Millan put out their respective solo debuts.These albums represent a whirlwind of musical energy—yet, none of it went towards a proper Broken Social Scene album. What would have happened if the band had put out an album that reflected its members’ work from 2006-2009, instead of waiting until 2010 to team up for Forgiveness Rock Record? We can’t know for sure, but we can get close. This playlist envisions a “lost” BSS record of sorts, a potential album that never existed. So, close your eyes, travel back to the person you were 10 years ago, and pretend you’ve discovered a new Broken Social Scene record. Here we go.

Of Montreal may be nearly two decades removed from their days as Elephant 6 upstarts, yet the collective’s unmistakable blend of eccentric DIY ethos and ’60s pop hooks continues to haunt the Georgia group’s music — including 2016’s Innocence Reaches. The same holds true for indie rock as a whole. Inspect the genre’s rank and file and the dreamily melodic flavors of Neutral Milk Hotel, Olivia Tremor Control, The Apples in Stereo, and all their blissed out pals continue to exert a powerful influence. In addition to spotlighting key tracks from Elephant’s 6’s charter members, our playlist ropes in notable outliers such as neo-psych brats The Essex Green and the utterly indescribable A Hawk and a Hacksaw.

Anthony Gonzalez is a singular force in French electronic music. Since 2001, operating primarily as M83, he has created everything from nostalgic shoegaze rock and pulsing electronic dream pop to film soundtracks, asserting his meticulousness both as a composer and performer. 2003’s Dead Cities, Red Seas & Lost Ghosts explored the intersection of sampled sound, electronic synths, and post-rock, evoking both Mogwai and My Bloody Valentine, while the melancholy and ecstatic Saturdays = Youth stands strong as 2008’s best ‘80s album. Employing battalions of excellent vocalists, mixers, engineers, and more, Gonzalez always manages to push his perfect rhythms into crystalline atmospheres of sound. His expansive music is equally perfect for midnight cruises with friends and packed music festival fields, insisting that feeling sad can feel good, as long as you are dancing through it.