#18: O.S.I. - Office of Strategic Influence

Release Year: 2003

In 2003, 9/11 was fresh on our minds, and one of the big sticking points was how much civil liberty we were willing to give up in order to achieve more security (or, some of us argue, the perception of more security).  Ex-Dream Theater keyboardist Kevin Moore was invited by Fates Warning guitarist Jim Matheos to collaborate on an album, and what we got was one of the most awesomely paranoid albums I've ever heard.

The term "Office of Strategic Influence" refers to the propaganda machine set up by the US government after the terrorist attacks.  The lyrics are centered around this theme, and indeed, the lyrics and music take on a somewhat sardonic tone, with Kevin Moore's signature sound bites topically spread throughout.  This is an excellent protest album: it does not come across as trite, shallow, or even angry, but instead more sarcastic.

Besides Moore and Matheos, this album features ex-Dream Theater drummer Mike Portnoy, some melodies and lyrics by Daniel Gildenlöw, a song featuring lyrics and vocals by Steven Wilson, and another guest or two.

This album is a perfect mix of heavy and atmospheric, and the vast difference in styles between the respective projects led by Moore and Matheos yields a very diverse and interesting album; yet, it still manages to stay true to its specific theme.

Standout tracks:

• Head
• Dirt From A Holy Place
• When You're Ready
• shutDOWN 

#24: Josh Ritter - Hello Starling

Release Year: 2003

The first of Josh Ritter's trifecta of great albums, Hello Starling contains some of my favorite modern folk tunes.  Here, the acoustic guitar shines, and Ritter's poetic aptitude is on display.

This is Josh at his most sincere.  Most of the songs are nice, pleasant, acoustic guitar-based ballads, with a few upbeat folk rock songs mixed in ("Kathleen," "Snow Is Gone," and "Man Burning" being the ones that stick out).

Ritter is one of my favorite artists, and a huge part of that is his lyrics.  I don't know what to say about this album other than, this man is a poet.

Standout tracks:

• Kathleen
• Snow Is Gone
• Wings
• Man Burning 

#32: Porcupine Tree - In Absentia

Release Year: 2003

Yes, I know this is the third Porcupine Tree album I've picked, but considering (a) they've been one of my favorite bands since 2005 and (b) Steven Wilson has always been a believer in the album as an art form, you'd expect them to have several outstanding albums.

 In Absentia marked a radical change in direction for Porcupine Tree.  Steven Wilson had just finished producing a couple of Opeth albums, which are, of course, progressive death metal.  Wilson cited this experience as something that rekindled his love of metal, so what we got here is the first "metal" PT album, and one that alienated a lot of older fans, but was very well-received in the prog metal crowd.

The great thing about this album is that, despite its easily being the loudest PT record in existence, it is still as melodic, if not more melodic, than their previous work. The guitars are much louder and in-your-face, and the drums are more technical (thanks to the addition of drummer Gavin Harrison), but there are still cool bass grooves, layered vocals, and lots and lots of atmosphere.

Besides the overall sound, it's just a great collection of songs.  Some of them could have been hits if they had a record company with deep enough pockets.

Standout tracks:

• Trains
• Prodigal
• The Sound of Muzak
• .3 

#33: Opeth - Damnation

Release Year: 2003

Beauty in despair.  Those are the first things that come to mind when I think of this album.

Opeth originally intended to make Deliverance and Damnation (both produced by Steven Wilson) a double album, but the powers that be wanted them separate.  So we have the balls-to-the-wall heavy Deliverance, and its antithesis, Damnation.  The former is somewhat mediocre (though it has its moments), but the latter is one of the most beautiful albums I've ever heard.

If you listen to any song here, you'd probably be surprised to find out it was made by a death metal band.  It is all clean vocals, rich melody, unplugged guitars, keyboards, and the signature Steven Wilson atmosphere.

This is one of those albums that you can't listen to repeatedly, because there is nothing upbeat here.  Yet, it's one of those albums you have to have in your collection, because there is nothing else like it available - not even from the band that created it.  It has a thread of sorrow woven throughout every aspect of the music, from the lyrics, to the instrumentation, all the way down to the actual packaging.

Incidentally, I listened to their new one, Heritage, for the first time today.  I might need to add a disclaimer to this list, that it only includes albums released before this month.

Standout tracks:

• To Rid The Disease
• Death Whispered A Lullaby
• Windowpane

#34: Oceansize - Effloresce

Release Year: 2003

Every once in awhile, you run into a band that did it right the first time out.  Oceansize is one of those bands.  Oceansize, from Manchester, England, released four full length albums and at least two EPs before breaking up earlier this year.

Oceansize was generally labeled as progressive rock, though they don't really have anything in common with most bands in that umbrella.  They do tend to write lengthy songs, which in the early days had some jam tendencies, with repeated riffs, and lots of build ups.  Their last couple of albums, Frames and Self-Preserved While The Bodies Float Up, feature more chaotic arrangements.  Everyone Into Position was probably their tightest record, but Effloresce is my favorite.  This album just features so many great melodies and instrumental sections that it's almost overwhelming.  They hit the perfect spot on their first album, and while the others were unique, to be sure, this one has the best combination of experimentation and structure.

These guys are loud when they need to be, and quiet when they need to be.  If you like a good, dynamic album, this is a great choice.  Oceansize were excellent musicians, and one of the most underrated bands of the 2000s.

Standout tracks:

• Saturday Morning Breakfast Show
• Amputee
• Catalyst
• One Day All This Could Be Yours 

#44: Leftover Salmon and Cracker - O Cracker Where Art Thou?

Release Year: 2003

What happens when you take David Lowery and Johnny Hickman from Cracker, and give them a jamgrass band as their musical accompaniment?  You get one of the coolest novelty albums ever recorded.

Cracker had a few hits back in the early nineties, the most well-known being "Low."  Cracker has always been considered a rock band, but they've always had threads of country throughout their music.  So, they seem like a natural choice for making an entire album of bluegrass covers (well, maybe adaptations, since I'm not sure it can be a cover if it has the original singer).

This album really works for me for two reasons: (a) I really like Cracker, and (b) I really like bluegrass.  The other reason this album has sentimental value for me is that it really introduced me to the bluegrass genre. Furthermore, it taught me that bluegrass music and rock music can be compatible (for more on that, check out Keller and the Keels, who cover Amy Winehouse's "Rehab," Butthole Surfers' "Pepper," Marcy Playground's "Sex and Candy," and an alternate version of Cracker's "Teen Angst."  Also, Punch Brothers versions of The Strokes' "Reptilia" and "Heart in a Cage," Beck's "Sexx Laws," and several Radiohead covers).

Standout tracks:

• Get Off This
• Low
• Eurotrash Girl
• Teen Angst (What The World Needs Now)