Alternative in the early 2000’s had a distinct flavour. It was an era of sprawling garage bands, gritty synths, anthemic choruses, and leather jackets. Here are some of the genre’s defining songs that you might remember from back when you were just starting to discover music.
Yeah Yeah Yeahs- “Maps”
The charismatic female lead Karen Orzolek puts her flippant attitude on pause to deliver one of the most intense ballads of period. The steady urgency in the drums makes it sound as if Orzolek’s own heart is hammering as she tries to piece together the right words. Her voice seems on the verge of breaking with the final plea “Wait / They don’t love you like I love you”. The word “maps” stretches out in the chorus, cryptic without context. Allegedly, it stands for “My Angus please stay”, referencing her companion Angus Andrew, on tour with his band “Liars” at the time.
Matchbox 20- “Unwell”
The banjo intro and memorable chorus declares “obvious hit”, and it is possibly the most radio-friendly song about angst. The self-deprecating voice immediately gives the image of a misunderstood protagonist in a young adult rom-com. However, the musings on mental health might deem the song darker than the melody suggests.
Weezer- “Beverly Hills”
Before the stylish Fun glamorized not fitting in, there was Weezer that made unkempt awkwardness their gimmick. The self-appointed geeks wrote the immensely satisfying chorus that appeared in the back drop of many childhoods at some point or another. Incidentally their best-selling single was also the worst reviewed by critics. The lyrics can probably be seen as ironic wit, although it can also do without the shrill “gimme”s.
Death Cab for Cutie- “Soul Meets Body”
The song that propelled DCC into the limelight, where they eventually became a staple in alternative music. The haunting lyrics and vocals paired with jangling guitars gives the song a dark and sophisticated feel. Ben Gibbard is practically relishing in his solitude when he sings “But if the silence takes you/ Then I hope it takes me too.” The song occupies a tasteful middle ground between international hit and obscure indie, which is where DCC has contently remained since then.
The Knife- “Heartbeats”
An edgy piece of electronica where its bright synth tones are at odds with the aching lyrics. Karen Dreijer instills details of an intimate affair with a sense of loss, regret, and maybe even existentialism. The chorus “To call for hands of above, to lean on/ Wouldn’t be good enough for me, no” sound as if she renounced a faith she never had.
The Strokes- “Hard to Explain”
The Strokes were on top of the world once. They were known as a group of leather clad boys from NYC that revamped 70’s garage rock with a modern sound, and garnered hype from critics and fans alike. “Hard to Explain” is arguably their best written single to date. It features Julian Casablancas’s most effective version of rascal charm, where he sounds almost apologetic in his restless rant: “I missed the last bus/ I’ll take the next train/ I’ll try but you see/ It’s hard to explain.” Lamenting the woes of youth was hardly new territory in the alt-rock world, The Strokes just happens to be one of the few that can pull it off.
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