It’s hard to talk about 2001 without bringing up the events of that second Tuesday of September, but even then I wasn’t about to let that disrupt my life. I would still head down to my writing nook and nail that word count. I would still do my weekly comic and cd run. There was a lot to process, and life in the US would definitely shift in a direction I felt wasn’t the smartest or safest one, but I kept going. And as always, music helped me get through that.
System of a Down, Toxicity, released 4 September 2001. Another summer record, all the local alt-rock stations played “Chop Suey!” “Toxicity” and “Aerials” heavily. SoaD could be badass but they could also be hysterically funny, sometimes within the span of a single song.
They Might Be Giants, Mink Car, released 11 September 2001. TMBG has long been a favorite of mine, but their 90s output after Apollo 18 always felt a little lackluster to me. Fun, but not quite up to the level I’d hoped. This record, on the other hand, was a great shift in their sound — they felt a hell of a lot more self-confident and freewheeling here and sounded like they were having fun again.
Ben Folds, Rockin’ the Suburbs, released 11 September 2001. Folds’ first official solo record (not including 1998’s Fear of Pop) finds him continuing down the road of smart and funny pop songs and beautifully heartfelt ballads…plus the title song which would become my Live Journal title a few years later. Folds is still the only musician I know who has ever played with the San Francisco Symphony and managed to get the entire hall audience to scream “fuuuuuuck!” multiple times.
P.O.D., Satellite, released 11 September 2001. I’d known about this band for a few years from my HMV job, but this was the record that broke them into the mainstream. It’s a widescreen-sounding album which works to their benefit — “Alive” and “Youth of the Nation” sound spacious yet so full of life and power. It’s a solid hard rock album and still one of my favorites of that year.
Curve, Gift, released 18 September 2001. Curve didn’t release too many albums, but each one was brilliant with its sonic abrasiveness, dreamlike melodies and Toni Halliday’s amazing vocal delivery. They were like Garbage’s older, often-ignored sibling that had a much cooler music collection and less inclination to hold back on their creative endeavors. This was another Belfry soundtrack with heavy airplay.
Bis, Return to Central, released 18 September 2001. This Glaswegian trio had formerly been known for its punk-twee ‘teen-c power’ cuteness (and the closing credits theme for The Powerpuff Girls) but eventually morphed into a dance-ready groove machine, and the evolution worked shockingly well. I absolutely loved this record — it’s one of those with a handful of great singles and deep cuts, and “What You’re Afraid Of”, “Protection”, and “Two Million” sound great as standalone tracks — but it also sounds wonderful as a whole. Highly recommended.
Days of the New, Days of the New III, released 25 September 2001. Travis Meeks was pretty much the sole member of this band by then (the original lineup having quit in frustration and formed Tantric), and while this isn’t nearly as grungy as the first album or expansive as the second, it’s just as melodic and fascinating.
Sense Field, Tonight and Forever, released 25 September 2001. I got into this band quite late but their records have always been fun to listen to. Not quite emo, not quite alternative rock, but full of great songwriting and memorable tunes. Another Belfry soundtrack!
The Verve Pipe, Underneath, released 25 September 2001. Two records on from their ridiculously popular Villains and Brian Vander Ark was still writing amazing records, even if the band’s labels didn’t give a shit. This is a wonderful record full of some of BVA’s best love songs.
More to come!