It took a bit of time for life to get back to some semblance of normalcy after September, and for me it was getting back into the groove of writing and continuing my comic and music purchases. I shied away from most of the political commentary and conversation that floated around at the time. If anything, it made me even more determined to keep up with what had long been my true career as a writer.

Starsailor, Love Is Here, released 8 October 2001. Named after a Tim Buckley album (they even borrowed the same font for their logo!), Starsailor is similar to Elbow in that they have their own unique sound and mood that might not stand out upon first listen, but their songs definitely stay in your head.

Lamb, What Sound, released 8 October 2001. Where 1999’s Fear of Fours was an exercise in odd time signatures and emotional tension, its follow-up was a lovely, calm respite filled with some of my favorite Lamb tracks ever. This was on heavy rotation in the Belfry as it served as a perfect soundtrack for what I wanted to achieve with A Division of Souls.

Death Cab for Cutie, The Photo Album, released 8 October 2001. This Seattle band had been around for a good number of years and hiding in plain sight, but this was the album that gained them the most national attention at the time. Their popularity would only grow exponentially with each release.

Sloan, Pretty Together, released 16 October 2001. Canada’s Other Great Band doesn’t always get the love it so justly deserves, but those (like me) who love them have been fans for a LONG time. This is probably one of my favorite mid-career albums from them.

Pulp, We Love Life, released 22 October 2001. This band’s last album comes almost twenty (!!) years after they started, but they went out on a supreme high note. Every track on here rocks, and contains some of Jarvis Cocker’s best lyric work. Bonus points for the video for single “Bad Cover Version” which is a hilarious watch!

Lovage, Music to Make Love to Your Old Lady By, released 6 November 2001. One of Dan the Automator’s weirder side projects (as if 1999’s Handsome Boy Modeling School wasn’t weird enough) featuring Faith No More’s Mike Patton and Elysian Fields’ Jennifer Charles on vocals. It’s trip-hop meets film noir meets b-movie drama and it’s a hell of a fun listen.

Andrew WK, I Get Wet, released 13 November 2001. It all started here, with one hell of an attention-grabbing album cover (the iconic AWK with a bloody nose) and songs that rock your ass off so hard that you’re not quite sure if he’s being serious or taking the piss. And he’s still partying hard twenty years later!

Various Artists, Not Another Teen Movie soundtrack, released 14 December 2001. The late 90s/early 00s wave of teen movies covered everything from sex comedies (American Pie) to bro-filled sports films (Varsity Blues) to weekend parties (Can’t Hardly Wait) to horror movie pastiches (the Scream series). A lot of them were terrible, but that didn’t always mean they weren’t fun to watch. Most of the time, however, the soundtracks were often the best part. This particular one is filled with then-current bands covering 80s songs you’d have found in John Hughes films.

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I went into 2002 determined to make it as positive as I could. Not so much because of then current events, but because for the first time in years I was in a good place and could pull it off. I dedicated all my free time to writing, to the point where I was writing every single day, including weekends, on a major project I had a lot of faith in. I had good friends and the ability to keep in constant touch with them. And 2002 was indeed a stellar year personally as well as with the music that I loved.

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.

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More to come!

Time to catch up on the 20YO series again! This time out we have a whole slew of fine records that became my favorite records of that year. Many of them were played heavily during writing sessions in the Belfry, but many of them were also getting play in my car as I expanded my weekend pleasure drives and long commutes. I was still feeling that nudge of discomfort coming from various angles (mean boss, low funds, frustration with my writing projects), but at the same time I felt stronger and more confident than I’d ever felt that entire decade.

Porcupine Tree, Stupid Dream, released 6 April 1999. I didn’t discover PT until their next album (2000’s Lightbulb Sun) but I immediately checked this album out once I did, and it became one of my favorite mid-catalog records of theirs. Steven Wilson (you may know him now as the producer behind all those 5.1 remixes of classic albums getting released lately) and the rest of the band really found their niche with this record, easing back on the extended jamming and leaning towards more concise melodies. Highly recommended, whether you’re a prog fan or not.

Ben & Jason, Hello, released 9 April 1999. Ben Parker and Jason Hazeley were a UK duo that wrote and sang absolutely gorgeous indie folk but avoided the sometimes saccharine twee of most other bands in that genre. They only put out three records and a handful of singles but they were one of my all-time favorite finds at the time. Definitely worth searching for if you can find them.

Electronic, Twisted Tenderness, released 17 April 1999. The third and last album from Bernard Sumner and Johnny Marr’s side project, this is a fantastic album and in my opinion the best and tightest of them. It got a delayed and ignored release here in the States, which is too bad, because there are some really strong singles on this one. And quite possibly my all-time favorite version of Blind Faith’s “Can’t Find My Way Home”, featuring some of the best Marr guitar work I’ve ever heard.

Ultrasound, Everything Picture, release 17 April 1999. Another import find that quickly became one of my favorite records at the time. It might be a bloated overlong mess but it’s a hell of a lot of Britpop/psych-rock fun and I still give it a spin every now and again.

Lamb, Fear of Fours, released 17 May 1999. Lamb is a fascinating electronic band in that they’re more about exploring and experimenting with soundscapes than they are about being played in a club, and I’ve always loved their records. This one’s fascinating in that it’s an experiment in unconventional time signatures, with very few tracks actually being in 4/4 time. (Track 4 is even untitled, and features nothing except a seven-second single bleating synth sound.)

Moby, Play, released 17 May 1999. Say what you will about his bouts of sort-of-creepy weirdness in his latest memoir, Play remains an excellent record and worthy of its accolades. It’s clever, inventive, and a wonderful listen.

Travis, The Man Who, released 24 May 1999. This record broke them in the States (where it was released a few months later). It’s less noisy than their debut record but it’s a lot more introspective, and truly shows just how great they are as songwriters. Every single track on this record is wonderful, even the hidden tracks! [This is the record they were touring on when I met the foursome after a show in Boston; they were all lovely people and I’m glad they made it as big as they did.]

Smash Mouth, Astro Lounge, released 8 June 1999. Yeah, I know, I could easily have used the “All Star” meme here, but I didn’t, because the rest of this album is actually pretty damn great! It’s a fun listen — it’s tighter and perhaps a bit poppier and more commercial, but that works to their advantage here.

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Coming up soon: Thirty Years On, in which I briefly talk about The Best Album Ever! 🙂

I’d have to say 1999 was kind of a weird time for me, as it had some smashing highs and some really frustrating lows for me. While I still loved my record store job at HMV, things had changed there, and not necessarily for the better. The new manager and I often butted heads, and I also found my shifts often being pushed to weird hours to cover someone else’s plans. I’d gotten frustrated with the fact that my sci-fi novel (The Phoenix Effect) was getting no bites from publishers and its sequel was soon to be aborted when I instead chose to completely rewrite the whole damn thing.

Radio was also getting more frustrating to listen to, the more melodic sounds of 90s alt-rock getting replaced by what I’d call ‘meathead alt-metal’, with the drop-tuning and growling (and sometimes unfortunate white-boy-rapping) of Korn, Limp Bizkit and Marilyn Manson. I started listening to less radio and more of my own collection, which of course had already grown considerably in the last couple of years. On the plus side there, I’d discover a lot more imports and obscurities that became some of my favorite records of the time.

The Supernaturals, A Tune a Day, released 8 February 1999. I was pretty heavy into the imports at this time. I would read the British music mags religiously, checking out the news and reviews and following up accordingly, ordering a copy or two for the store. A lot of it was hit or miss, and most of the time I’d be ordering a copy simply for my own collection. The Supernaturals are one band that got some minor reviews in Mojo and elsewhere but kind of vanished soon after. I really dug the alternapop of this record, though.

Annie Christian, Twilight, released 8 February 1999. The same goes with Annie Christian…they were part of a newer British wave of guitar groups that wrote some really nifty tunes that unfortunately got ignored by pretty much everyone.

Tin Star, The Thrill Kisser, released 9 February 1999. Now THIS record is groovy and quirky as hell and more people need to know about it. The “Head” single got some minor airplay on the alt-rock stations, and every now and again I’m pleasantly surprised when it resurfaces. This record got a hell of a lot of play during my writing sessions. Well worth searching for and checking out.

Lit, A Place in the Sun, released 23 February 1999. These guys could easily be filed away in that same meathead alt-metal gang, considering their biggest hit is about being an alcoholic loser…but they do it in style with catchy riffs and fun tunes. Bonus points for providing a nude cameo of Blink-182 (following up their “What’s My Age Again” streak) in their video for “Zip-Lock”, another radio favorite.

Jimmy Eat World, Clarity, released 23 February 1999. Before the enormous success of 2001’s Bleed American, this band was a favorite of the emo crowd, and “Lucky Denver Mint” was a minor hit on a lot of alt-rock stations. Their early records are definitely worth checking out as well.

Badly Drawn Boy, It Came from the Ground EP, released 1 March 1999. This one remains one of my favorite import finds from the HMV years, and it’s one of BDB’s best songs, and really should have gotten a hell of a lot more attention than it did. I always play this one loud because it’s just that awesome.

3 Colours Red, Revolt, released 2 March 1999. Yet another fantastic alt-rock album criminally obscured by alt-metal radio and record distributor shenanigans of the day. “Beautiful Day” is a gorgeous tune that has the epic quality of Bends-era Radiohead. Had this come out a few years earlier or later, it may have been a much bigger hit.

Blur, 13, released 15 March 1999. Blur, on the other hand, was the Britpop band that survived the late 90s fallout of their scene by way of changing up their sound considerably. Their 1997 self-titled record introduced a much heavier and more experimental sound, while this record exposed their more emotional (and emotionally fraught) side.

Various Artists, The Matrix OST, released 30 March 1999. Say what you will about the trilogy, the first movie definitely changed the entire game of American science fiction movies by being fiercely original, relentlessly creative, refusing to rely on tired tropes, and introducing some of the best jaw-dropping special effects ever made up to that point. And it had one hell of a great soundtrack that just had to be played as loud as possible.

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The last year and a half of my HMV tenure may have been fraught with irritations and stress, but it also provided me with a ton of excellent music that would keep me busy and entertained. This was the peak era of my weekend road trips to comic stores, book stores and Boston, and it was also an extremely creative time for me as well, even if my current project was about to be completely restarted from scratch. My social life was nil, but that was the least of my worries, as I was doing exactly what I wanted to do, and I was actually getting paid enough to be able to afford it to some extent. I’d dug myself out of an extremely deep depressive funk, and despite managerial frustration, I refused to fall back into that trap again.