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Record companies dont give a fuck about Cadillac on 22s, he told Pitchforks Tom Breihan in a Village Voice interview.

Home News Reviews Albums Tracks Sunday Reviews 8.0 Reviews Best New Music Features Lists Guides Longform Rising Photo Galleries The Pitch Video OverUnder Liner Notes Under the Influences On the Records Critical Breakthroughs Podcast Newsletter Advertising Masthead Careers Contact Accessibility Help More Pitchfork Pitchfork Music Festival Chicago Pitchfork Music Festival Paris Pitchfork Music Festival Berlin Pitchfork Radio Home News Reviews Best New Music Features The Pitch Video Podcast Staff Picks Toggle main navigation menu Open search module Expand audio player Home News Reviews Best New Music Features The Pitch Video Podcast Staff Picks Toggle main navigation menu Open search module Expand audio player The 200 Best Songs of the 2000s The best tracks of the decade that changed everything for radio, the underground, and your iPod.

Iron Man Ost Driving With The Top Down Mp3 Free Mp3 Files

The underground met the overground in the form of easily amassed, often free mp3 files.

Pop met experimental met rap met rock met electronic, sometimes in the same song (see: OutKasts B.O.B.).

M.I.A. combined geopolitics with hip-hop and postmodern production on Paper Planes.

Hot Chip, LCD Soundsystem, and the Knife offered heart-tugging odes built for the dancefloor.

Jay-Z and Beyonc started off the decade with brilliant radio hits like Crazy in Love and Big Pimpin, and capped it by embracing indie rock in Williamsburg.

Meanwhile, everyone put their playlists on shuffle, ricocheting between the White Stripes Fell in Love With a Girl, Missy Elliotts Get Yr Freak On, and Justin Timberlakes My Love without thinking twice.

With the playing field more level than ever, at its best, the 2000s were a freewheeling musical meritocracy.

But Beck managed to inject his stoic sorrow into a few catchy tunes, Lost Cause being the catchiest.

Escher drawing. The rest of Sea Change may be more hypnotic in its resigned sorrow, but Lost Cause, like the best mope-anthems, makes you nod along to sentiments that would otherwise have you hanging your head.

Portishead returned in 2008 and the space theyd carved out was somehow more removed and vacant than the phantom, fractured jazz and blues clubs suggested on their two previous records.

That pulsing tone that opens the track could have been some dying transmission from one of Dummy s analog synthesizers, yet the arpeggios that underpin the back half of the track sounded achingly contemporary.

And threading a line between the 1990s and now was that voice, reminding us that nobody can spread multi-syllabic words of woe across bars of music quite like Beth Gibbons.

And Arbez makes the machines work for him, whether theyre buzzing like bees on speedballs or causing EQ meters to snap into a billion pieces thanks to a what sounds like a demonic copy machines futuristic head-rush chomp.

The 1990s promised a electro takeover of all things rock-- it didnt happen.

But Vitalic begins the decade by riding lightning as hard and fast as any musclebound fist-pumper-- and priming the formula that would eventually give rise to megawatt crosses and pyramids around the world.

The odd chord progression stays precisely the same for the entire song, but the melody changes some, in Newsoms phrase.

So does the tenor of its lyric, from the ooze and floozies and alliteration of its first few verses to the manic, bolting horse and internal assonance (and therefore suggestion of whores) in the last few.

None of that is obvious at first, but all of it works in the service of the songs needle-sharp emotional sting.

But the rallying, march-like feel of the track suggests that when Spunt insists, I wont end up like them at all, hes not pointing at his musical brethren, but scene come-latelys that wash away what we create.

Or maybe the song isnt that literal certainly the musics hazy hooks stand up to multiple interpretations.

Thats the potency of No Ages rough minimalism: it could mean almost anything, except nothing at all.

While the verses in Make Out Fall Out Make Up throb like a hangover headache, the choruses blare to the point of nearly collapsing into atonal cacophony, with Josephine Olaussons trebly yelping rising above the din to absolutely nail the tunes feeling of overwhelming romantic anxiety.

But Kid Rock was a clown and David Banner just turned out to be confused a guy who earned his savings shouting about pussy and pimpin but privately ground his teeth over whether raps about pussy and pimpin were really what his community needed.

His most detached lyric My folks still dumping, my music bumping but I feel nothing is also his most engaged.