Corey's Decade list 30-20

30. Isis - In the Absence of Truth

Narrowing down the decades best releases from one of the decades greatest bands may not be easy, but choosing In the Absence of Truth may have come more naturally to me than many would believe. Despite the fact that this was an Isis album that would open them up to a host of new fans that would have been previously unaware of their sludge meets post-rock efforts, it still wasn't held in the highest regard by old school Isis fans. That is because itAoT is a noticeably more melodic and progressive album in general, although when truly judged by its musical merits, its also one of the band's greatest achievements. The enticing buildup of opener "Wrists of Kings" doesn't continually build and slowly gain volume like one of Isis' former songs might have, instead it works its way into a beautiful mid-tempo groove with Aaron Turner singing instead of screaming. Its a bit of a change, but as soon as an actual verse and chorus are demonstrated twice the bottom drops out and the listener is suddenly kicked into the distorted, climactic ending that they've been waiting for. Its moments like these that show that Isis' did some of their finest and most forward-thinking songwriting on this album. The Opening bass riff of "Not in Rivers, but in Drops" is still one of the most hypnotic things I've ever heard in my entire life and the rest of the song is absolutely trance-inducing with its ethereal, yet always clever twists and turns. They drift off into heart-stopping space metal on "Over Root and Thorn" and "1,000 Shards", and tracks like "Garden of Light" are full of power and commanding presence. The band members performances were at some of their best as well, with drummer Aaron Harris' roomy fills and excellent drum tones being one of my favorite components of the album. The comparisons to Tool would not stop of course as a healthy dose of prog into their trademark combination of post-rock and sludge metal certainly did give them somewhat of a resemblance, but I don't think there's any use wasting time on comparisons here. Isis were something all their own on this album, just the way they've always been.

29. Intronaut - Prehistoricisms

LA progressive metal group Intronaut had hinted at great things within the first couple of years of their career but were still yet to truly fall into their own until this full-length masterpiece. Their first release for Century Media and the first to truly showcase the band's progressive muscle that would expand their sound to uncharted territory, Prehistoricisms was an abrasive yet forward-thinking and highly enjoyable musical statement. Sludge, prog, jazz, fusion, and Indian music all seem to meld together so harmoniously that its almost scary, as is Intronaut's ability to make bizarre time meters groove hard on tracks like "The Literal Black Cloud". They also display a knack for taking something from punishing to jaw-droppingly beautiful on song like "Austropalithicus" which shows come pretty adventurous writing, maybe even more so for an extreme metal band. The prehistoric theme of the album is also brought to life through the dual percussion onslaught at the end of "Any Port" and the range of music explored on the mind-bending 17 minute instrumental "The Reptilian Brain" should win some kind of award for one of the greatest unsung psychedelic metal songs (Joe Lester's fretless bass and Middle Eastern melody and rhythm techniques add a truly unique flavor here). Prehistoricisms might not be for everyone but it was just what I needed, and it was also the start of an exciting evolution for this band.

28. Raekwon - Only Built 4 Cuban Linx Pt. 2

New York Wu-affiliated MC Chef Raekwon took his time for the follow up to one of the greatest hip-hop records of the 90s, but once the end result was dropped in 2009 I don't think anyone was complaining. Only Built 4 Cuban Linx Pt. 2 hearkens back to the greatest days of New York hip-hop and still manages to stay relevant at the same time. Its a thorough look at great hip-hop that slays almost anything in the genre thats been released in the past decade. Rae and Ghosts' most unrelenting crime stories yet are brought to life by perfectly fitting production and beats by everyone from Dr. Dre to Dilla, and its the kind of album that has enough staying power and replay value to warrant a place in any hip-hop fan's collection. Rae does some of his best rhyming here and the other Wu-emcees make everyone feel right at home. Cuban Linx Pt. 2 is full of classic songs, whether its "New Wu", "Sonny's Missing", "Ason Jones" (one of the best O.D.B. tributes ever) or any of the other countless memorable tracks from the album, you can't miss. Although the best thing about it is that it truly feels like a record, and its meant to be experienced that way from start to finish.

27. King Geedorah - Take me to your Leader

Only when dealing with an artist like MF Doom and his cohorts is it possible that one of the greatest hip-hop albums of the decade would be released by a short-lived moniker that only did one album. With that being said, King Geedorah's Take me to your Leader stands amidst the enigmatic MC's vast catalogue as some of his greatest work ever. Consisting largely of guest rappers and unique, eclectic samples taken from sources such as Godzilla movies and the anime series Gatchaman, Take Me to your Leader follows its name in the sense that it is truly like alien hip-hop, refreshing and profound. Its the kind of eclectic, creative record that one stumbles upon and listens to non-stop for months on end.

26. Between the Buried and Me - Alaska

While it might not be as open-minded of a musical expression as Colors was, there's no denying that Between the Buried and Me flexed some of their strongest prog-metal muscle on Alaska. Alaska was the album that proved that this NC group wasn't just another fly-by-night metalcore band, but a group of misfits that still oddly fit in almost wherever they went. The opening track "All Bodies" has all the components of a devastatingly good progressive death metal song; its not just the shredding and odd time meters, its the riffs that truly stick with you. The band also began breaking free from their former genre's parameters by introducing some daring elements (for a Victory band anyway) in the form of the chilling dream-rock section in "Backwards Marathon" and the Brazillian acoustic jazz of album-ender "Lazer Speed". True story: did you know that when I first bought this album and took it home to listen to it that the instrumental section at the end of "Selkies: the Endless Obsession" literally left my mouth open and almost brought tears to me eyes? I had to replay it instantly, and I'm sure I did many times after that.

25. Mastodon - Leviathan

Some may consider it heresy that Mastodon's debut Remission did not make it onto my decade list. Well before it comes to fisticuffs know that I agree that its an excellent album, but this Atlanta, GA quartet pulled out all the stops on their sophomore effort. Leviathan is the kind of album that renews the faith of thousands when hope for modern metal was truly waning, an album that marries heavy and smart in a completely non-cliche and non-fashionable way. Leviathan opens with one of the most infectious and mosh-able songs of the decade; "Blood and Thunder" before the growing Black Sabbath and Thin Lizzy influence keeps "Seabeast" tough, yet melodic. While Mastodon hadn't fully shifted into prog yet, their dedication to progressing as musicians was already evident as not only was the band's writing stronger and more adventurous, but Bret Hinds' and Troy Sanders' vocals had already come a long way and would continue to grow from here. The record is pure classic from start to finish, but its true shining moment is none other than the 13 minute epic "Hearts Alive". As eight-armed drummer Brann Dailor pounds his way through alien rhythms the song develops the way a true progressive rock song should, and there's even a little Skynyrd tribute in Brent's climactic solo. I'd also like to see anyone argue their way out of tracks like "Iron Tusk" and "I am Ahab" being some of the most punishing that Mastodon has ever done.

24. Minus the Bear - Planet of Ice

Its certainly been argued by me before that depending on what you're in the mood for, three of Minus the Bear's albums: Highly Refined Pirates, Menos el Oso, and Planet of Ice, are all equally excellent in quality. While I've believed this to be true at times, deep down I've always felt as if Planet of Ice truly stood above the rest as Minus the Bear's crowning achievement. While perhaps not as pure as the addictive math-pop of Highly Refined, or as hip as the polished glitch-hop rock of Menos el Oso, Planet of Ice still left me utterly stunned with its addition of shimmering prog into the band's already highly agreeable formula. Planet of Ice shows the band's evolved songwriting pushing the catchiness level to pandemic levels while still adding complexity and depth. The album truly paints a picture with its lush keyboard landscapes and shimmering, ether-worldly guitar tones. Opening song "Burying Luck" improved upon what MtB had already done in previous records, while songs like "Dr. L'ling" and "Lotus" are spacey and enjoyable enough in their prog-pop to make David Gilmour smile. Besides, the sheer joy from "Throwin' Shapes" is like sugar to the ears, yet another reason why Minus the Bear have set a high an extremely high bar for themselves with this one.

23. The Flaming Lips - Yoshimi Battles the Pink Robots

While these Oklahoma acid-rockers were already a well-established cult favorite in the decade prior, it still often feels like The Flaming Lips career is sometimes spoken about in terms of before and after Yoshimi Battles the Pink Robots. It could be because Yoshimi was not only a huge breakout album, but a complete masterpiece. Picking up where the Soft Bulletin left off with the Lips' new approach that would define mostly electronic alternative pop for the rest of the decade, Yoshimi Battles the Pink Robots is the perfect marriage of modern pop sensibility and brilliant, slight psychedelic genius. Wayne's friendly voice draws you in the instant you hear it on the whimsical melodies of opener "Fight Test", a song so utterly infectious that you've lost all hope of breaking free by the time it reaches the first chorus. Even in the more melancholy moments like "One More Robot/Sympathy 3000-21" (which features a truly stunning ending) the Lips still manage to push through to your heart in only a way that a band that writes songs about robots learning to love can. Everything on this album literally comes together perfectly, as evidenced by the fact that "Do You Realize?" has become sort of an anthemic celebration of life amongst alternative music fans (its also Ohio's state song). Yoshimi doesn't miss, every track is gold, and whether or not its your favorite Lips record, its not only a defining moment in this legendary psych-rock band's 20 plus year history, it stands as one of the greatest albums period.

22. Pedro the Lion - Control

David Bazaan's relatability has helped make him one of the greatest musical minds to come along in quite some time. And while the story of a successful business who has an affair and is then murdered by his wife might not be relatable to everyone reading this, his knack for stripping things down to a common language and taking all the flowerie-ness of the common "indie" singer songwriter is what makes him such a relevant and essential artist. Here Bazaan appears as he always does, surprisingly calm and collected through his often dark lyrics and timeless songs. Bazaan steps slightly outside of the minimalistic and mostly acoustic approach of his previous records to deliver for all intents and purposes; a rock album, but its one thats still introspective and thoughtful enough to hit harder than the efforts that most indie rock bands can muster. Bazaan's aching low voice is at its best here and the arrangements are simple yet fully realized to their potential. Despite the many gems in Pedro the Lion's back catalogue, Control will always stand out to me as their finest moment. "Wouldn't it be so wonderful, if everything were meaningless. But everything is so meaningful, and most everything turns to shit. Rejoice." Doesn't exactly sound like the words of someone who wrote such a golden album, but then again he knows what he's talking about. He's one of us.

21. Jesu - Conqueror

Who would have known that grindcore godfathers Napalm Death's first guitarist would go on to make the soundtracks to your life's most emotional moments twenty years later? Indeed, Justin Broadrick has been many things, including industrial/sludge hero in the legendary band Godflesh, but he's also been the new king of shoegaze after channeling some of that aggression into his newest electronic/post-metal project Jesu. Conqueror's dream-rock achieves a hypnotic effect that very little music can, while it doesn't sound like it on paper, the combination of crushing guitars, swirling electronics, and soft, dreamy vocal melodies come together to create something that can make your ears bleed and your eyes watery. For a guy who isn't typically thought of as a post-rock writer, Broadrick knows how to use simplicity to create heart-stopping buildups like few others. The sheer intensity of the anticipation in songs like "Weightless and Horizontal" is enough to create a truly mind-altering voyage even without the drugged-out electronic panning effects. Listening to Conqueror again and again one thing is truly evident; there will never be another band quite like Jesu.

20. Made ouf of Babies - The Ruiner

"If you believe in such things then start praying..." hiss

es/pants Julie Christmas at the beginning of the song "Peew", track 8 on Made out of Babie's third LP The Ruiner. The warning could have come a bit sooner. At this point in the album we've already been trampled by barrages of jarring guitars, distortion coated bass, and of course the vocals of one of music's most refreshing, creative, and terrifying female singers. Brooklyn, NY quartet Made out of Babies struck gold on The Ruiner with a truly innovative, yet simple formula. If I had to describe MooB to anyone who had never heard them I'd say imagine a three-way cross between Neurosis, The Jesus Lizard, and Bjork. Falling somwhere between post-metal and art punk, The Ruiner is truly difficult to compare to anything else I've ever heard. And its not all harshness either. The melodic ending half of "Invisible Ink" is beautiful, smart, and surprisingly simple all at the same time, its a nice contrast to the next track "The Major" which features dark, creeping riffs underneath Christmas' haunting vocals that eventually build to a truly bludgeoning climax. Of course Christmas is the star here, her ability to bring different personalities to life with her shapeshifting voice never ceases to amaze. Unfortunately I have to quote Revolver magazine here, even though I'd rather not it could be the most astute observation they've ever made about anything: "Its called The Ruiner because it makes everything else sound lame." Very true words.

Next time its 19-10, thanks for reading!

Corey