We’re a quarter way through the most musically saturated – and possibly final — century in human history. According to over 100 surveyed KVRX DJs and staff, these are the best albums from each year of the millennium.
2000:
Erykah Badu - Mama’s Gun
With the arrival of the Soulquarians at the turn of the century, Jimi Hendrix’s legendary Electric Lady Studio became the mecca of soul. The collective reach a new level of immersion on the sultry grooves of Mama’s Gun. Questlove’s hypnotic rhythms provide the heartbeat, while J Dilla realizes each track in intoxicating detail. Badu proves her singularity as a singer-songwriter, breathing life into the arrangements with cerebral reflections and a sensual vocal performance. Released just 10 months after fellow Soulquarian D’Angelo put all of America in heat with Voodoo, Mama’s Gun offers a more tender take on intimacy and marks Badu’s matrescence as the mother of contemporary soul. -DJ Zam
2001:
The Strokes - Is This It
Years after the release of Is This It, The Strokes’ frontman Julian Casablancas told NME “we wanted it to sound like we just walked into a room, recorded it and didn’t care.” Two cover arts and two months of recording later, Is This It put New York City back at the center of rock and roll discourse for the first time since the new wave explosion of the early ‘80s. Ever since, imitators have been trying in vain to recapture the raw passion of The Strokes’ era-defining debut. Not even The Strokes have been able to do it. - DJ Zam
2002:
Interpol - Turn On The Bright Lights
Taking part in the post-punk renaissance of the early 2000s, Interpol’s debut came dripping in the brooding wet from the clouds that hung over post-9/11 New York. Part of this haunting feeling comes from the depressing beauty of Carlos Dengler’s bass guitar. Over Interpol’s years as an underground act roaming the underbelly of NYC, lead singer Paul Banks perfected the nachos many of your favorites have steadily picked at for years. From the skillful maneuvering of the deep richness in the bass to the relentless guitar lines from Banks and lead guitarist Daniel Kessler in tracks like “The New,” the attention to detail in each song throughout the record sets Turn On The Bright Lights apart. Whether or not this quality persists in Interpol’s subsequent albums, music geeks agree that the debut’s widespread influence earns it a place in the list of the best of the 21st century. - DJ Duderanch
2003:
Evanescence - Fallen
When thinking about the best albums from the last 25 years, no other words encapsulate a record better than the starting lyrics of Fallen by Evanescence,with Amy Lee singing through gritted teeth, “Now I will tell you what I've done for you.” Taking the narrative into her own hands, Lee embodies what nu-metal has become during the early 2000s, dismantling the male-dominated metal scene by serving as a new pillar for upcoming female artists and bands. After the release of their dark, electronic-influenced demo Origin, audiences became enthralled with their ethereal fusion of the industrial, orchestral, and electronic genres, leading to the extensive process of recording and releasing their debut LP Fallen. Within it, Lee explores themes of loss, pain, obsession, love, salvation, and freedom while operatically singing over heavy guitar riffs, piano ballads, and ghostly string synths– something that initially appears to not be cohesive but impressively works to the advantage of the band. Songs like Going Under, Everybody’s Fool, Haunted, Tourniquet, Imaginary, Whisper, and, obviously, Bring Me Back to Life (ignoring that horrid rap bridge…I’m sorry) embody what a debut should be, allowing Evanescence to excellently demonstrate their influence within nu-metal, as well as display the longevity of their success within modern culture (since their sound is still heard to this day). However, on a personal level, many of these themes resonated with my younger self, enduring the hardships of maturing into a young adult along with the extreme societal pressures imposed on teenagers. The familiarity of angst and emotion was one I had never heard before, still captivating me to this day as I start my journey into adulthood. Ultimately, I believe this album will relentlessly withstand the testaments of time, continuing to age like fine wine while solidifying itself amongst the best albums from the 2000s and possibly of all time. - DJ Redthorne
2004:
My Chemical Romance - Three Cheers for Sweet Revenge
As New Jersey’s second punk princes of darkness, My Chemical Romance had big shoes to fill. Three Cheers For Sweet Revenge proved that they were not just the worthy heirs to the Misfits, but the smokey-eyed faces of punk to come. Armed with substance addictions and an obsession with death, frontman Gerard Way approached their sophomore LP with a morbid concept: a dead man promises Satan the souls of 1,000 sinners to see his lover again. Way’s raging vocal theatrics roar alongside the band’s viscous instrumental performances to bring the story to life in devastating detail. If The Black Parade set out for rock opera glory, Three Cheers was out for blood. - DJ Zam
2005:
Sufjan Stevens - Illinois
Illinois can be overwhelming to listen to for the first time. I was 13 on my initial listen through, and the 70+ minute runtime was daunting, not to mention the numerous stylistic changes and obscure references to various parts of both the state’s history and infamous residents. “Come On! Feel the Illinoise” in particular is jam packed with references to the World’s Columbian Exposition, but still manages to hit an emotional core that leaves me wondering if I’m “writing from the heart” or just for the sake of it.
Has an “Oh my god” ever been as chilling as the delicate, pained falsetto Stevens releases at the end of the first verse of “John Wayne Gacy Jr.”? The moments that have stuck with me the most on Illinois are those cathartic releases. A large part of what makes those instances as emotionally devastating as they are is the excellent album sequencing, layering on strings, percussion, and backing vocals in the tracks ornate centerpieces only to strip it back immediately after. My favorite example is the transition from the last minute of “Chicago” to “Casimir Pulaski Day,” where the contemplative fade out from its triumph transitions to a gut wrenching tale of losing a loved one and questioning faith in the wake.
Illinois is one of those albums that has grown with me since the first time I heard it, and one I would implore anyone unfamiliar with to listen to. - DJ Funk
2006:
Amy Winehouse - Back to Black
Despite being released in 2006, Back to Black exists somewhere else entirely. It’s sonically vintage, inspired by ‘60s girl groups with its boisterous soundscapes and backing vocals as well as its R&B influenced melodies – not to mention Amy Winehouse’s signature beehive hairstyle. But its mood is heavier, providing it immunity from being reduced to a specific time and place. Rather, it feels like the gateway to someone’s grief-ridden psyche. It’s filled with infectiously upbeat tracks, opening with hits like “Rehab” and “You Know I’m No Good,” but their lyrics convey Winehouse’s inner turmoil as she struggles with self-control and addiction, segueing the album into several meditations on despair. Its title track gradually slows and settles into a chamber of doom, Winehouse’s vocals echoing with sorrow. In “Love Is a Losing Game” – a personal favorite – love is bleakly described as a hopeless whirlpool. Given that Winehouse passed away less than five years later, the album almost feels tragically ominous – and yet, the album is composed so beautifully that it’s also comforting. Winehouse’s warm, sultry vocals caress the accompanying keys and saxophones, crafting an atmosphere perfect for easing into a reflective night. Perhaps that’s where peace is, reconciling with your experiences by listening to music that cathartically expresses them. Nearly two decades after its release, Back to Black continues to resonate with anyone who has encountered the universal stages of grief; it’s a hand to hold, an enduring reminder you’re not alone. - DJ Matty G
2007:
Radiohead - In Rainbows
“Hello Everyone.
Well, the new album is finished, and it’s coming in 10 days;
We’ve called it In Rainbows.”
The return of Radiohead after a five year long hiatus with a triple platinum record gave fans a memorable experience, still relevant years after its 2007 release. It was groundbreaking, with universal acclaim and released digitally at no cost. The album took in various themes and sounds from previous records, while giving them a new feel that awarded the album its independence through its synthesis of sounds Radiohead had created over the years.
Although not ambitious–it didn’t have to be genre shifting like Kid A, or giving a new definition to rock like OK Computer – each song on In Rainbows is worth analysis and discussion, earning its recognition as KVRX’s 2007 Album of the Year. Its inviting and familiar sound on each track allows people to play it on aux with no judgements.
The psychedelic sounds of “Nude” and “House Of Cards” make them my favorites of the record. The hits, “Weird Fishes/Arpeggi” and “Jigsaw Falling Into Place,” are very deserving of their popularity. The addictive heavy electronic drum beats in conjunction with the smooth and melodic guitars that make the album so endearing. It feels like a love letter, full of need, desire, and obsession.
In Rainbows has an emphasis on the desire for connection, something most Radiohead fans can relate to. I find that it works extremely well with the sound, along with the themes pulled from previous albums, making it one of the most influential albums in Radiohead’s discography.
Give it a listen!!!! Once you finish, tell a Radiohead fan what you think. They would love to hear your opinion. - Michael Martinez Lino (@mykullsex)
2008:
Lady Gaga: The Fame
I took a trip to the UK Forum Popjustice, to see what some of the earliest musicheads were saying about up-and-coming artist Lady Gaga’s The Fame. A handful of comments predicted that “Just Dance” would only be a hit in dance clubs, while others dubbed her as a temporary replacement for Britney Spears.
But as we now know, The Fame didn’t just live in the clubs – it dominated across the globe, introducing a new brand of pop stardom that was self-aware, fashion-forward, and unashamedly theatrical. Gaga was her own spectacle – equal parts Warhol, Bowie, and Europop brilliance, filtered through a DIY MacBook microphone...read the full review here. - DJ Bananas
2009:
Florence + The Machine - Lungs
Florence + The Machine’s debut 2009 album, Lungs, is for the kids who grew up with fairy tales. Lungs sounds like rich green forests, torn dresses, and running on bare feet; it’s easy to believe in nymphs and dryads when Florence Welch gets to singing. Even if her vocals may not be squeaky clean (and let’s be real, who wants that?), Welch's rich growls and soaring falsettos are steeped in guttural authenticity. Paired with the album’s transcendent sound, it’s no surprise the album made it to our Top 25 albums of the last 25 years. Ringing in at a whopping hour and twenty-three minutes, it may be easy to feel daunted by the album. But when the iconic opener, “Dog Days Are Over,” strums those familiar chords, it’s hard to feel anything but the warm, familiar tug of hope. Some other DJ doodlebug certified favorites are “Howl,” “Falling,” and “Kiss With A Fist.” - DJ doodlebug
2010:
Bruno Mars - Doo-Wops & Hooligans
Bruno Mars first charmed as a guest vocalist on B.o.B.’s “Nothin on You” and then on Travie McCoy’s “Billionaire.” After Doo-Wops & Hooligans, fans fell head over heels.
Mars covers his debut album wall-to-wall with pop smashes of all flavors, oozing charisma all the way through. He often plays hopeless romantic, sweetening each ballad with a vocal performance of liquid gold. The record’s most endearing moments, however, lie in the innocent humor of “The Lazy Song” and the kindness of “Count on Me.” Three top five albums and six number one singles later, the modern-day king of pop’s first set of tracks still stands as his most beloved. - DJ Zam
2011:
Alex G - Race
Since Race was released on August 9, 2011, the music of Alex G has maintained relevance – and with good reason. When Sandy came on the scene, no one might've expected his work to ring true in the hearts of so many. I’ve come to consider Alex G a sort of lo-fi Sufjan Stevens: a storyteller and poet with a kitschy quality that stays ringing in your ears. It only makes sense for his freshman album, which is so centered around adolescence, to be living a renaissance with young people today.
In the briefness of a half-hour, Race takes the listener on a journey through death and growing, humanism and melancholy, love and despair, whilst establishing the homemade brilliance of the artist.
In his debut album, Alex G manages the incredible feat of establishing the dawn of a new era of low-fi whilst dragging the listener into a humanistic, strange, and sinister dreamscape that is dripping with nostalgia.
“Welcoming you back home/ the only one that you will ever know.” – “Things to Do”...read the full review here. - DJ MamaCD
2012:
Lana Del Rey - Born to Die
2012 was marked by winged eyeliner and vampire love triangles. But for sad girls around the world, their teenage years were forever changed with the release of Born to Die, the debut album from then-unknown Lana Del Rey. Of course fans will note Lana Del Rey – aka Elizabeth “Lizzy” Grant – released music for years under her real name, but Born to Die marked the birth of her poetic persona.
The album tackles themes of mortality and the fleeting nature of love, explored through Lana’s melancholic ballads and yearning vocals on tracks such as “Born to Die,” “Dark Paradise,” and a personal favorite, “Video Games,” where Lana declares: “It's you, it's you, it's all for you / Everything I do / I tell you all the time / Heaven is a place on earth with you.” Her haunting sentimentality is famously inspired by her then-boyfriend who spent his time playing World of Warcraft. The mundane subject matter beautifully captures the simplicity of love, enhanced by one of Lana’s most raw and genuine vocal performances...read the full review here. - DJ Daffodil
2013:
Daft Punk - Random Access Memories
Released almost 10 years after Daft Punk’s previous proper studio album, Random Access Memories is a cinematic, introspective, cosmopolitan pivot away from their house roots. This time, the duo aren’t afraid to get quiet, acoustic, and sentimental, embracing the soft textures of 70s disco and funk in a genuinely beautiful way. “Touch” brings the emotional rollercoaster to its zenith, concluding that “If love is the answer, you’re home.” Right after you’ve cried through “Touch”, Get Lucky starts to play, and you wipe away your tears and get on the dance floor. From start to finish, Random Access Memories is a journey through sound and electronic music history that perfectly encapsulates the human condition. - DJ Y Not
2014:
Mitski - Bury Me at Makeout Creek
Mitski was my first favorite musician. As a highschooler, she was the first artist I discovered independently from the adults in my life and bonded over with my peers. Since I loved her during such a pivotal time in my life, her lyrics, messaging, and instrumentation will always stay in my mind, no matter how much I listen to her nowadays. Her 2014 breakout album, Bury Me At Makeout Creek, endures as a career and sound-defining work. It’s a compact creation, clocking in at just over 30 minutes and ten tracks total, but it packs a punch that sticks with you long after you have pressed pause...read the full review here. - DJ Rachie
2015:
Kendrick Lamar - To Pimp a Butterfly
I first heard To Pimp A Butterfly when I was eleven years old. My older brother was playing “King Kunta” in his room, and from beyond the door I could feel the bass line deep in my chest, and the lyrics pierced my soul. Kendrick won five Grammys for the record, but To Pimp A Butterfly is more than its critical acclaim; it is a cultural phenomenon, a love letter to the black community. Kendrick speaks to the complexities of the black experience, filtering themes of institutional violence, colorism, resilience, and joy through the lens of the transformation of a caterpillar to a butterfly. A team of producers blend funk, soul, hard bop, and West Coast hip-hop to create a melodic backdrop for an album that will forever be remembered as one of the most impactful of its generation. - DJ flatline
2016:
Frank Ocean - Blonde
How do you even begin to talk about Blonde? The title alone raises questions: Blond or Blonde? At the cultural level, the album’s release birthed dozens of melancholic R&B newborns dressed in the same smooth auto-tune. Sonically, the record’s reclusiveness reflects the time period of its release. Though Ocean’s ability to compose build-up and payoff in each song gives the album a grandiose feel, its production remains relatively minimal compared to his debut, channel ORANGE. The whole album reads like an unending poem that tackles political hopelessness, breakups and disappointment. Blonde continues to resonate with the youth because of this feeling of overall loss of hope – in the future, in love, in ourselves. Almost a decade later, it seems like the discussion around Blonde will never run out. - DJ DUDERANCH
2017:
Lorde - Melodrama
In her 12 year career, Lorde has proven that she has a keen knack for penning lyrics that perfectly capture all the trials, tribulations and triumphs that come with the loss of innocence and entrance into womanhood. Her debut album made this talent very clear, but it was her sophomore LP, Melodrama, that cemented itself as a pop classic. On Melodrama, Lorde’s lyrical brilliance meets its match with Jack Antonoff’s seasoned production, creating a dynamic album full of both high-energy bangers and some of the most iconic sad girl anthems in pop music.
From beginning to end, Melodrama has three clear acts: 1--chasing a high, 2--coming down and 3--realizing it’s all going to be okay anyways. This story is told through the lens of a literal drug-induced high (see songs like “Sober”) but it also is fundamentally a story of heartbreak and the personal changes that come with it.
The highlight tracks from the album are “Green Light,” “Liability,” and “Supercut,” all of which have become mainstays among fans today. Hearing “Green Light,” the lead single and first track of the LP, for the first time is sure to get your adrenaline pumping. It encapsulates how free and wild it feels to be a 19-year-old girl. The following tracks, “Sober” and “The Louvre,” take you further into the whirlwind romance that Lorde is portraying throughout the album. “Liability,” to put it simply, hits you like a truck. It tells the harrowing truths of coming to terms with yourself and how others handle you. Then, “Supercut” wraps you up in the relief of moving on and cherishing how love changes us for the better.
Melodrama is a beautiful portrait of love, loss, change, freedom and womanhood accompanied by stellar production. It is without a doubt essential listening for any teenager. -- DJ lemonhead
2018:
Car Seat Headrest - Twin Fantasy
Car Seat Headrest’s Twin Fantasy is possibly the most famous musical remake in history. What Will Toledo executed on this album was almost unprecedented, absolutely surreal, and highly metaphoric. By returning to his own words seven years later, and reconstructing both his sound and intentions, Will Toledo’s Twin Fantasy has become an essential part of modern music history.
Twin Fantasy utilizes its unique position to examine–with its time and distance–the narrative of Twin Fantasy (Mirror to Mirror), Toledo’s original 2011 album. While maintaining the original 19-year-old navel gazing and whiny infatuation, the new sound also brings with it new lyrics. Most notable of these changes being the brand new conclusion of the title track’s monologue. In the 2011 album, the monologue ends: “He has only these lyrics now.” In the 2018 remake, the monologue ends: “These are only lyrics now.” Will Toledo returns to his earlier work with an emotional clarity that allows him to synthesize it into something greater than its former self.
Twin Fantasy deserves its place on our list, not only because of its novelty, but also because of its striking sound, emotional clarity, and intensive reinvention. - DJ I.V. Drip
2019:
Tyler, the Creator - Igor
By 2019, Tyler, The Creator had introduced a slew of memorable characters over the course of several concept albums. On Igor, he develops his most captivating character yet, and the result is this century’s most cinematic break-up album. Tyler’s take on the Igor archetype is jealous, insecure and weak, and he filters his signature blend of soul and RnB through a distorted lens to mirror the character’s fraught emotions. His synth work, always a strong suit, pairs with experimental vocal effects to give the record a surreal and futuristic finish. Igor is Tyler’s gorgeous, twisted and fearless arrival as one of the geniuses of his generation. - DJ Zam
2020:
Adrienne Lenker - songs
Though maybe not the best year in our collective memory, 2020 does have one thing going for it: Adrienne Lenker’s 39-minute masterclass in songwriting, songs. Lenker’s signature stripped-down guitar and melancholic croon are in full form for this no-skip album. Indie girls and male manipulators everywhere shook when this one hit our Spotify recommendations. The album cemented Lenker’s place as a lyricist to be reckoned with; she bends poetic patterns to her will, somehow forging stories with heart while maintaining the meditative quality of all good ambient albums. It’s not a DJ doodlebug album review without some certified favorites for your listening pleasure. “Heavy focus” may have the fewest streams (a meager 11 million), but shines in its simplicity. Lenker showcases her gut-wrenching lyricism in another favorite of mine, “come.” This track welcomes death in a haunting minor key – I am both unnerved and soothed listening to this one. This album is a must-hear, but I’d like to suggest it’s also a must-read. Go outside, drink some super cold water, read these tracks like a collection of poetry…and then tell me what you think. - DJ doodlebug
2021:
Beyoncé - RENAISSANCE
Beyoncé’s Renaissance is a bold testament to her ever-evolving artistry, blending sharp beats, sultry vocals, and irresistible melodies into a high-energy dance album. The title perfectly encapsulates her presence – historic yet groundbreaking, rebellious yet innovative. As her first album in six years since 2016’s Lemonade, Renaissance sees Beyoncé embracing a disco-glam essence, crafting songs that celebrate Black excellence and honor the LGBTQ+ community. More than just showcasing house music, she brings it to the forefront, creating a brilliant and heartfelt listening experience...read the full review here. - DJ Markie Mark
2022:
Big Thief - Dragon New Warm Mountain I Believe In You
Dragon New Warm Mountain I Believe In You is a beautiful journey released by indie-alternative band, Big Thief, in 2020. Big Thief takes a folksy approach to their stripped-down indie-rock style, branching out into more experimental sounds. “Change” is an absolute gut punch of an intro, with lead-singer Adrianne Lenker coming to terms with the loss of a loved one and reflecting on the inevitability of change. Lenker introduces themes of love, loss, existentialism, and acceptance found throughout the rest of the album.
Every track is unique and emotionally touching. Lenker’s songs feel like time capsules. They rarely tell full-on stories, but present a portrait of an emotion, each line filling in more details of the painting. “Time Escaping”, is a clunky, yet otherworldly track featuring arpeggiating flute-like synths, intertwined with layers and layers of twinkly guitar plucking. “Little Things” also utilizes this instrumentally messy technique. Buck Meek’s signature soft, yet crunchy guitar meanders over chaotic instrumentals.
My favorite track off the record, “12,000 Lines,” is full of intricate acoustic guitar, yearning for a loved one that isn’t in your life anymore. Closing with “Blue Lightning,” the last lines answer the question posed at the beginning of the record on “Change”: “I wanna live forever til I die.” The ultimate embrace and celebration of life.
This album is very special. Along with some of the best songwriting I’ve heard on any modern alternative album, it’s catchy, soft, sweet, and sad. If you want to appreciate the beauty in life, I strongly recommend listening to this album. Lenker is one of the greatest songwriters of this generation and Big Thief continues to be a catalyst for her and her bandmates to channel their creativity into, resulting in one of the best albums of the century...read the full review here. - DJ I.V. Drip
2023:
Chappell Roan - The Rise and Fall of a Midwest Princess
The Rise and Fall of a Midwest Princess is a great introduction to Chappell Roan’s MO as an artist: Unapologetically proud of who she is. “I heard that there’s a special place/Where boys and girls can all be queens every single day,” she says on “Pink Pony Club,” a track whose queer pride recalls Bowie’s most inspiring work. It is also rather energetic throughout, which makes the more somber and thoughtful songs like “Coffee” and “Kaleidoscope” stand out like shining stars. With The Rise and Fall of a Midwest Princess, Chappell steps into the spotlight and grabs it with both hands. - DJ Tiger
2024:
Charli xcx - BRAT
Few albums can boast the cultural success of charli xcx’s 2024 hit Brat, but how could we have expected any less from one of the longest-reigning queens of pop? Perhaps one of the most interesting aspects of the album is its distinct album cover – one that is at once minimalist and flashy, with bold black lettering on a granny apple green background. The album starts with two dance-worthy tracks that bring the listener right into the club: “360” and “Club classics.” But much like a long night spent in a sweaty club, charli gives us a melodic break. “Sympathy is a knife” and “I might say something stupid” are two tracks that reflect on the competition and insecurity women in the limelight know all too well. Segueing into a certified DJ doodlebug favorite, “Talk talk” unites all of us romantics with its simple refrain: “I wish you’d talk to me.” Another honorable mention: "Everything is romantic.” The orchestral motifs accompanied by charli’s signature autotune are magnificent and utterly singular. Okay, we’ve all probably heard the whole album, so I’ll save my reverence for later. While the second half of 2024 saw the release of Brat and it’s completely different but also still brat, featuring an array of artists ranging from Bladee to Bon Iver, the original album remains culturally and sonically iconic. It’s absolutely no surprise this radio station has dubbed it the number one album of 2024. For this DJ, it’s always a Brat summer: intense, reflective, and so so fun. - DJ doodlebug