The Pitchfork 200 – the electronic files

It remains our humble job to take major music events and squeeze out the electronic components for the edification and general obsessive geekness of the true electro fan, from the Grammys to the Mercury Prize noms and now to the Pitchfork top 200 of the oughts (they expanded the scope to include the “top 500” but the honorable mentions can wait for another day). Now Pitchfork has always had their special favourites across various genres and they show up en masse here but overall it’s a rock solid list that’s pretty hard to argue with (there are some Softsynth would add and others that made us scratch our heads a bit but all in all a list so prescient it’s almost obvious). Even in the electronic entries and they are many (if in some cases obvious if you follow Pitchfork with some regularity – again, they have their favourites and broadcast them to the heavens).

A cursary glance down the list sees some great and logical electronic contributions to the list including:

#199 – Portishead: The Rip

#198 – Vitalic: La Rock 01

#187 – Booka Shade: Mandarine Girl

#178 – Air: Cherry Blossom Girl

#168 – Of Montreal: The Past Is a Grotesque Animal

#166 – Gui Boratto: Beautiful Life

#161 – Christian Falk: Dream On

#150 – Junior Senior: Move Your Feet

#149 – Dan Deacon: The Crystal Cat

#148 – Air France: Collapsing at Your Doorstep

#146 – Fennesz: Caecilia

#141 – Britney Spears: Toxic (say what you will but forever an awesome song and Britney’s best to date by a long way, and it deserves its place as among the best electronic tracks of the decade)

#139 – Daft Punk: Harder, Better, Faster, Stronger

#137 – Ladytron: Destroy Everything You Touch (hells yeah, respect the Ladytron!)

#120 – Phoenix: If I Ever Feel Better

#114 – !!!: Me and Giuliani Down By the Schoolyard (A True Story)

#112 – Lindstrøm: I Feel Space

#107 – M83: Don’t Save Us From the Flames (good on Pitchfork for singling out France’s greatest somnambulant electro act)

#102 – Cut Copy: Hearts on Fire

#99 – MGMT: Time to Pretend (naturally ,but how is this not a hell of a lot higher?)

#96 – Clinic: Distortions

#89 – The Postal Service: Such Great Heights

#85 – Phoenix: Long Distance Call

#83 – Basement Jaxx: Where’s Your Head At?

#82 – Robyn: Be Mine

#76 – Hot Chip: Ready for the Floor

#74 – The Knife: Silent Shout

#59 – Radiohead: Pyramid Song (one of three brilliant Radiohead songs that came during their decidedly electronic period)

#50 – Basement Jaxx: Rome

#46 – Robyn [ft. Kleerup]: With Every Heartbeat

#45 – Hot Chip: Over and Over

#29 – Hot Chip: Boy From School

#24 – Radiohead: Everything in Its Right Place

#23 – Daft Punk: Digital Love

#22 – LCD Soundsystem: Someone Great

#18 – Hercules and Love Affair: Blind

#17 – Annie: Heartbeat

#15 – The Knife: Heartbeats

#13 – LCD Soundsystem: Losing My Edge

#8 – Radiohead: Idioteque

#5 – Daft Punk: One More Time

#2 – LCD Soundsystem: All My Friends

It’s pretty heavy on the dance music and we sure don’t like all or even most of these choices personally (Air France? Lindstrøm? Hercules and Love Affair? Really?) and Pitchfork has a slightly different idea of what in electronic music truly impacted the world in the aughts than we do, but more importantly Pitchfork has done justice to a lot of electronic music’s subgenres (with perhaps a back of the hand to electroclash, but you can’t have everything). With 42 of their top 200 that could clearly or arguably be considered “electronic” (with many more that could be argued thus, if one were so inclined), all in all it’s just impressive to see electronic music so fairly included as among the “best” (Stereogum is similarly oft fair in this regard) and good on them for their wide-ranging approach to the soundscape of what made the decade beat on.

So what are the glaring omissions? What has no business being here at all? Is this as comprehensive as it could be? Are we just easily impressed and bought off with a few crumbs of acknowledgement  like some kind of desperate genre whore?


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