The nine hundred and fortieth song: Rebellion (Lies) - Arcade Fire
The art rock from Arcade Fire hits differently - while there's something accessible about it, it also eschews the simpler tracking of other contemporary rock bands in favour of some more esoteric sounds. Rebellion has an anthemmy chorus, but also has a feeling to it that makes it seem more out there, with string sections seeming to feature more heavily, and it's a gorgeous result here with a dark message.
The nine hundred and forty-first song: Take Me Out - Franz Ferdinand
Here's that other side. Not a world changing lyric, but instead a straightforward rock song with an irresistible beat that sticks in your head and an in built call and response. It's more accessible and feels more fun, but it's also a contrast that works well.
The nine hundred and forty-second song: Perfekte Welle - Juli
The heavy hard rock sound of Perfekte Welle also manages to evoke the optimistic happiness of this track, a jubilant celebration of a good day, a good wave of things happening. The lyrics help, but even musically it shines through.
The nine hundred and forty-third song: I Predict a Riot - Kaiser Chiefs
Another indie rock track from this era, with an optimistic rock sound gleefully predicting a riot following various instigating incidents. It's darkly happy and strangely engaging for it, telling its story while having that party feeling, a real punk undertone of ironically celebrating it.
The nine hundred and forty-fourth song: Can’t Stand Me Now - The Libertines
The drug-inspired garage rock of the Libertines stands out here as a more mellow sound, slightly slurred vocals that removes a lot of the threat that could be in the music. After the explosions of energy before this, this feels simpler and more straight forward, a sound that works but feels a bit out of time as well.
The nine hundred and forty-fifth song: Float On - Modest Mouse
Modest Mouse's track also goes for this subdued energy - high energy for their doing, but not something that stands out as perking you up like that. It's nice and pleasant with another catchy beat, even if not as attention grabbing.
The nine hundred and forty-sixth song: Jesus of Suburbia - Green Day
I've discussed my appreciation of Green Day before, and American Idiot still works both in giving you that release for bottled, hyped up anger and feeling like contemporary commentary. The switches in music hit really well and it's still a great song in all its parts and when combined.
The nine hundred and forty-seventh song: Mein Teil - Rammstein
It's odd this metal band hasn't appeared before, since Rammstein feels like such a large presence in the metal world as I've known it for some time before this. This is a good example of what they do - loud and aggressive, demanding your attention and thoughts, while playing with the irony of the images they use. It's got to hit you right, but that's what happens for me.
The nine hundred and forty-eighth song: Portland, Oregon - Loretta Lynn featuring Jack White
We're taking a brief break from full on rock to have a country track, although you wouldn't tell from the experimental opening. It's a strong duet, the two voices work well together and the additional production lifts Loretta Lynn's track further. She stands out strongly in this, and remains the star, but it meshes so well.
The nine hundred and forty-ninth song: Points of Authority - Jay-Z with Linkin Park
Since this might be the only moment where I get to go into it, I can say how much I loved Linkin Park. I grew up with it and their angsty metal sound hit me at a point where it resonated heavily with me. Even outside that, their heavy metal still shaped my music tastes. I'm not sure Jay-Z's additions work too well here - the past references and mix feel a bit much, and I don't think it gives me what I want, but there's something here that does work for me.
The nine hundred and fiftieth song: The Art Teacher - Rufus Wainwright
There's something about this song that hit me more than I would have expected. The simple music makes the lyrics hit a lot more - lyrics filled with an interest in how people think, an exploration of someone Rufus Wainwright isn't, but filled with details of their life that make them seem a lot more real. It's properly aimed to hit you and perfect in what it does.
The nine hundred and fifth-first song: Dry Your Eyes - The Streets
I'm strangely fond of The Streets' work as well, even if it doesn't match my usual tastes as much. Mike Skinner's storytelling is a lot more effective than a lot of hip hop and the sad tone of this track helps to set the tone. There's something encouraging in the encouragement to move on, while also admitting the longing doesn't end just because of that. It uses simple lyrics, real to life, but that's what makes it so raw and engaging.