The rule: the artist/band must have released their first LP in 2000 or after. I'll submit my list soon. Curious to see yours.

Please try to mention one (or several) album(s) along with the artists/bands.

Off the top of my head:

The Hold Steady (especially Boys and Girls in America, Separation Sunday)
Arcade Fire (especially Funeral, Neon Bible)
TV on the Radio (especially Dear Science, Return to Cookie Mountain)
Jolie Holland (The Living and the Dead, Springtime Can Kill You)
Josh Ritter (Historical Conquests)

This is tough, as a huge number of artists I like were formed in the late '90s (and '80, and '70s, etc.).

Crooked Fingers (s/t, Dignity and Shame, Red Devil Dawn)
Josh Ritter (Hello Starling, The Historical Conquests of...)
The New Year (Newness Ends, s/t, The End Is Near)
Dolorean (Not Exotic, Violence in the Snowy Fields, You Can't Win)
Arcade Fire (Neon Bible)
Early Day Miners (Let Us Garlands Bring, All Harm Ends Here)
Southeast Engine (Coming to Terms With Gravity, A Wheel Within a Wheel)
Sun Kil Moon (Ghosts of the Great Highway, April)
The Bad Plus (Prog, Suspicious Activity?)
Okkervil River (Black Sheep Boy, Down the River of Golden Dreams)

I liked what I heard from the 2002 release by Citizen Cope, but I haven't heard anything since.

shoot, the "first album in the 00's" rule nullifys Death Cab for Cutie, here are some others:

Tier One:

Camera Obscura (Lets Get Out of This Country, Underachievers Try Harder)
the Shins (Oh, Inverted World, Chutes Too Narrow)
the Decemberists (all)
Carissa's Wierd (Ugly But Honest, You Should be at Home Here)
the New Pornographers (Mass Romantic, Electric Version, Twin Cinema)
Magnolia Electric Co. (S/T, Sojourners)
Rosie Thomas (When We Were Small, If Songs Could be Held)
Sun Kil Moon (Ghosts of the Great Highway, April)


Tier Two:

Mirah (Advisory Committee, C'mon Miracle)
the Arcade Fire (Funeral, Neon Bible)
Dolorean (Not Exotic, Vilence in the Snowy Fields)
Richard Hawley (Late Night Final, Lowedges, Lady's Bridge)
Sufjan Stevens (Michigan, Illinois, Seven Swans)
Stars (Set Yourself on Fire, In Our Bedroom After the War)
Club 8 (The Boy Who Couldn't Stop Dreaming)
Jens Lekman (When I Said I Wanted to be Your Dog, Oh You're So Silent Jens, Night Falls Over Kortedala)
Okkervil River (Black Sheep Boy, the Stage Names)

Mine:

2000

Laura Cantrell Not the Tremblin' Kind

Nothing revolutionary here (either for all my favorite artists I'm afraid), just a delightful collection of perfect songs, between pop and country. Somewhere between Kitty Wells and Skeeter Davis. She released two other CDs, also delightful, though slightly less perfect in my opinion. The 4th offering was a downloadable EP only (this year), a collection of covers. She's been busy being a mother, I think. She may follow her own heroes who stopped recording too soon (Molly O'Day, Bonnie Owens), but I hope not.

2002

Paul Curreri From Long Gones to Hawkmoth

Probably the male singer songwriter who impressed me the most so far in this new century. There are only two other male singer songwriters in my list (well, if you except the band Young & Sexy, lead by Paul Hixon Pittman, and sharing vocals with Lucy Brain): Joe Pisapia and Jens Lekman. Paul Curreri is a rootsy one, his influences are mostly blues and folk, but he also likes jazz and rock. He's a great guitar player, vocalist and lyricist. He's recorded four albums so far, this one is his first, and may remain his most impressive, though the last one was especially good as well, with more rock sounds.

Joe Pisapia Daydreams

So far, the man only recorded this album in solo. He preferred to be part of a band that I don't find extraordinary (Guster) in the latest years, unfortunately. And he was part of another band before his solo album (Joe, Marc's Brother). (his brother Marc uses to play drums for Josh Rouse and others now). Daydreams is an acoustic pop wonder, the guy did everything himself in a small studio in Nashville. He likes painting, too, and we can feel it in his sounds. He's as subtle as Nick Drake, and it doesn't sound like Belle & Sebastian at all. That was my fave album of 2002. Since I keep wondering when Joe will wake up and record another one.

2003

Devon Sproule Upstate Songs

When I first heard that second album from this young lady (who married Paul Curreri since), I was deeply impressed. The song that opens this LP, "Plea for a Good Night's Rest", is so perfect: Devon knows how to sing around a melody, and her flair for cool jazz will be shown in more evidence in the follow up, that Andy seemed to like even more than me. Yep, That follow up is probably even better, but nothing's more moving than a talent blossoming right in your ears, with that delightful mix of weirdness, awkwardness and adventurous gift around, as it's the case with Upstate Songs, which reminded me of the early Dar Williams and Christine Lavin (whose respective wonders are called Honesty Room and Beau Woes). Imperfect, but silvery.

Anny Celsi Little Black Dress & Other Stories

Anny Celsi had released another one in the 90's under the band name of Annyland. I guess I count solo stuff as something new. What could I say about this album? It's her Car Wheels On a Gravel Road, but it's different. It's as if Lucinda Williams had been influenced by Peggy Lee. It's less wild, and more elegant. It's quite close to Amy Rigby, in style (for those who know her - anyone?). It rocks, but with style. You may find something of the early Mink DeVille as well. And the voice of Anny is sweet like silk. And how about that cover art:



2005

Rachel Ries For You Only

My favorite album of the new century so far by a new artist. As for albums that make really something to you, it's always very hard to write something up to what you feel. I did it in French, but how could I translate it well? Would you mind to read it in French?

Rachel Ries ~ For You Only

Mon coup de coeur 2005. Et ça l'est resté.

D'abord, l'objet est joli, premier contact visuel et tactile. Les détails embellissent l'existence.

Ensuite, Rachel Ries impose un mélange d'émotion et d'élégance, de grâce et de virginité. Dès la prime chanson, elle allie une mélodie précieuse, d'une élégance désuette et révolue, au craquèlement d'une voix qui semble rougir de se mettre le coeur nu. L'intimisme est aussi vif que délicat. Cette chanson est suivie de choses plus bohème, avec la poésie d'un banjo évoquant un chariot cahotant sur la route. Parfum de vagabondage. "Valentine NE" me rappelle un coin de mon enfance, l'impression d'avoir connu cette sensation de "bringuebalement". La voix de Rachel est parfois crispante, jamais lisse, semble toujours s'égratigner, mais jamais âprement, comme si elle creusait, sillonnait sa peine, ses regrets, avec vulnérabilité. Mais au lieu de naufrager dans les larmes, elle va s'élever vers l'arc-en-ciel. Le prisme des pleurs. C'est dans sa deuxième partie que ce disque nous emmène ailleurs, dans l'alcôve de l'émotion intime, seul avec soi-même, là où la voix nous mène: "October", "Unkind", "Sad Saturday", "Summer Came, A Warning" et le sublime "We'll All Be The Same"... La sensation d'élévation est provoquée par de judicieuses montées d'orgue, tandis que le chant de Rachel se distord, se suspend. La tendance baroque (accordéon, piano) est juste effleurée, la richesse instrumentale procède par touches.

Je ne pensais pas qu'une chanteuse pouvait encore me faire rougir comme ça. C'était inespéré. Un miracle. En ces temps déprimants de cynisme et d'hypocrisie, où tout est calculé, planifié... surgit ce genre de disque, qui ne parle qu'à vous, retrouve le langage de l'émotion, de la poésie et rien d'autre.
Rachel Ries est en train d'enregistrer son deuxième album. J'espère qu'elle est restée aussi pure. Elle a en tout cas un admirateur dont la gratitude n'est pas près de s'éteindre.

2006

Jolie Holland Springtime Can Kill You

Once you heard Jolie whistling on Catalpa, you understand that something special's happening. She's of those artists who found their own special style, and world. I have received her new album but haven't listened to yet. Anyway, I think she deepened her world with Springtime... especially. Some reviewers complained about it, it was too slow, too blurred, too lazy, etc... To me, it's pure poetry. Or one of its musical companion.

Niobe White Hats

My second fave album of the new century by a new artist (right after Rachel Ries). But now if you think that the german Yvonne Cornelius, aka Niobe, is another folkie (I forgive you, it's obviously my cup of tea!), you may be surprised, especially if you listen to her three previous records, which are what we call electronica. But I wish all electronica was that good and original and luminous and poetic. Many musicians I like are painters, too. They see art as a whole thing, and try to reach the bliss of senses. Yvonne played with sounds like Cubist painters played with forms. With her fourth LP, White Hats, she almost stopped that deconstructivism, to sing like a weird diva, somewhere between Björk, Peggy Lee and Yma Sumac. Her goal was to find some childhood souvenirs of holidays spent skiing in the Swiss Alpes ("White Hats" = snowy mountain tops). Whatever she tried to do, I can tell it makes a deep effect on me. I listened to that record at dawn, in the silence. That was a very good idea. I felt like my ears were more open than they ever were. I travelled in time and space. That's the magic of art. It makes one minute last one hour. At least it makes feel so. And no, I don't take drugs. With such records, you don't need to.

Nina Nastasia On Leaving

And now back to my cup of tea

Yeah yeah, I know, another female singer songwriter. But what can I say: some artists can do so many things alone with a guitar. Nina Nastasia isn't your average folkie (why do you think I mention her here?), you can listen to any of her five albums so far, you'll hear something strongly distinctive. There's something Goth in her folk music, something dark and haunting, and powerfully captivating. As far as I could notice, she even goes to Velvet Underground territories. Wandering loneliness, secret soul. There's no doubt that Nina Nastasia is a great artist, and will deliver more records in the next years. Of all my favorites here, she's the most creative.


That makes nine big favorites.


Others I could also mention: Young & Sexy (pop band from Vancouver), Butterfly Boucher (yeah, I like her tunes), Joanna Newsom (her world has grown on me), Kaki King (sensual and creative guitarist), Dr Dog (a band which may be as good as Wilco), Karine Polwart (Scottish singer songwriter, close to British Folk, a field I like a lot), Jill Barber (a Canadian one, whom the new album features three songs co-written by Ron Sexsmith), Jens Lekman (just heard him recently and was impressed).

In 2008: Laura Marling, Lonely Drifter Karen, Johnny Flynn, and Fleet Foxes.

That's all, folks!

PS: of course I have many favorite records released in this century by artists and bands who started in the last one...

I like Kyle's Tier 1 and Tier 2 approach. And I'm going to add a third category as well.

Tier 1

Arcade Fire (Funeral, Neon Bible)
Sun Kil Moon (Ghosts of the Great Highway, April; it's cheating a bit given Kozelek's previous involvement with Red House Painters, but it's technically true for the 2000 - 2008 timeframe)
Sufjan Stevens (Greetings from Michigan, the Great Lakes State, Seven Swans, Come On, Feel the Illinoise)
The Hold Steady (Separation Sunday, Boys and Girls in America)
The Decemberists (Picaresque, The Crane Wife)
Watermelon Slim (Watermelon Slim and the Workers, The Wheel Man)
New Pornographers (Mass Romantic, Electric Version, Twin Cinema)
Damien Dempsey (To Hell or Barbados, The Rocky Road)

Tier 2

TV on the Radio (Return to Cookie Mountain, Dear Science)
Okkervil River (Black Sheep Boy, The Stage Names)
Jolie Holland (Springtime Can Kill You, The Living and the Dead)
Josh Garrels (Over Oceans, Jacaranda)
The Shins (O, Inverted World, Chutes Too Narrow)
Southeast Engine (Coming to Terms With Gravity, A Wheel Within a Wheel)
The Clientele (Strange Geometry, God Save The Clientele)
Eleni Mandell (Afternoon, Miracle of Five)
Hayes Carll (Flowers and Liquor, Little Rock, It's a Shame)
Interpol (Turn on the Bright Lights, Antics)
Iron and Wine (The Creek Drank the Cradle, Our Endless Numbered Days)
Ray LaMontagne (Trouble, Till the Sun Turns Black)
The Thermals (More Parts Per Million, The Body, the Blood, the Machine)

Too Early to Tell, But I'm Certainly Going to be Paying Attention

Ezra Furman and the Harpoons (Banging Down the Doors, Inside the Human Body)
Camera Obscura (Let's Get Out of This Country, Underachievers Try Harder)
Horsefeathers (Words Are Dead, House With No Name)
Anathallo (Floating World, Canopy Glow)
Devon Sproule (Upstate Songs, Keep Your Silver Shined)
Johnny Flynn and the Sussex Wit (Alarum)
Son Lux (At War With Walls and Mazes)
Frightened Rabbit (Sing the Greys, The Midnight Organ Fight)
Blitzen Trapper (Wild Mountain Nation, Furr)
Bon Iver (For Emma, Forever Ago)
Scott H. Biram (The Dirty Old One Man Band, Graveyard Shift)

Can't believe I forgot the Decemberists; they're one band that, up to this point, really seems to have gotten better with each new album.

British Sea Power. It's easy to tap their debut, The Decline of..., as the one to start with; but this year's release Do You Like Rock Music? (their 3rd full-length) keeps the energy of the first one while reigning in some of the raggedness. It's simultaneously anthemic and atmospheric. And standing in front of them at a live show can make you feel like you're being gently pulled up off of the floor.

The Kingsbury Manx. Tend to stay low on the radar, unlike other indie acts mining similar veins. They have four full lengths out in the last eight years. All are worthy, but the debut, self-titled records stands out head & shoulders on the strength of the three opening tracks - that simply take my breath away eight years after first hearing them.

Snowglobe. A part-time band of young Memphis-area musicians, led by two primary songwriters. - one of whom is touring in another project, while the other is apparently in his second year of med school. Yet they assure me by email a new record is imminent in 2009 (believe me, I ask often). The Beatles/Beach Boys by-way-of-Elephant 6 comparisons are easy to make, but the players bring a more formal approach to music and more emotionally direct way with lyrics. I regular listen to the three albums they've released to date, but Doing The Distance is a stunner.

Wayne Robbins & The Hellsayers. My favorite less-than-part-time band from Western NC (their second show this year comes this week, opening for Magnolia Electric Co in Asheville). They manage a folk/psychadelia/american blend and a robust sound; led by Mr. Robbin's Neil-ish tenor and college-English-instructor lyrics (and he's obviously listened a lot to The Smiths).
Only one record to choose from, 2004's The Lonesome Sea. I've worn grooves in the CD. But the long-delayed follow-up is finally being finished with mixing from the likes of Jason Lytle and Mitch Easter.

Avett Brothers. Can't believe I all but ignored these guys for so long, even having seen them play a set five years ago. I'm catching up on them now, but last year's Emotionalism is still my favorite.

Woven Hand. Someone has a pet band.
And yes, it's a bit of a cheat. But for a while now, even though I was a 16 Horsepower fan first (albeit a late to arrive one), I've come to think of that band as a warm-up of sorts for David Eugene Edwards. Everything about Woven Hand - his songwriting, lyrics, vocals, choices in instrumentation and production - seems to be a realization of the ideas he's had in his head for a long time.
Line up all five releases - Woven Hand, Blush Music, Consider The Birds, Mosaic, Ten Stones. At this point in my life I can't choose a favorite.

I share your taste for Eleni Mandell, Andy - I have all her CDs and like them all, minus Country for True Lovers which I find too flat.

Her first album (the excellent Wishbone, produced by Jon Brion) was released in 1998, though.

I am a little surprised by what I found looking at my listening this decade.

In my Tier 1, I have a couple cheaters.

Sun Kil Moon: There has been plenty said here about Mark Kozelek. I was a Red House Painters fan. I continue to be deeply moved by his music.

Consonant: Clint Conley's first foray outside of Mission of Burma and due to the recent Mission of Burma activity, difficult to know if it will continue. Hard to say if I like the eponymous first cd or Love and Affliction better . I like the writing a lot.

Otis Taylor. Made music then dissapeared and reappeared years later. I hadn't heard of him until V. He is working some of the same territory as Olu Dara. This is remarkably organic music for someone in an obviously urban and well informed environment. Delta blues that would fit very nicely at the Guggenheim.

In my first tier that are new:
The Black Keys. Based on rumors and talk from some New York Friends, I ordered the Big Come Up. Shortly there after I saw them in the middle of the day open an outdoor show at Stubbs in Austin. They killed. I think they have only continued to improve.

Explosions in the Sky: The Earth is Not A Cold Dead Place. It is what I heard first and continues to be the benchmark of how I listen to them.


The Kills: A friend from San Francisco called me to say "I saw the Kills last night, you need to see them because the singer will die soon". He was wrong. They remain riveting live and visceral on record.Keep On Your Mean Side is a great place to start. If you don't like that you won't like the rest. It doesn't get nicer or prettier.

The Hold Steady. My assistant was engaged to a guy that brought Separation Sunday into the office. He said you like rock, listen to this. They played me Your Little Hoodrat Friend. He said, his Mom was singing back ups. I now own everything the Hold Steady has done. They write the saddest and most rocking songs. The young man went to jail which terminated the engagement.

Constantines. I went out one night to see another band. All I remember is the Constantines. They work tension as well as anyone. The songs, though obtuse and non linear cut to the emotional heart of the matter. They have yet to make a bad record. Shine a Light and Kensington Heights are probably the most consistant.......

Six Parts Seven: They did a split with the Black Keys that I initially didn't think much about. Casually Smashed to Pieces is very nice work that made me go back and listen frequently.

My second tier are all performers that I have multiple recordings of and listen to regularly:
Laura Cantrell
Erase Errata
Scout Niblett
Interpol
Nina Nastasia
elefant
Federico Aubele
Amusement Parks On Fire
Architecture in Helsinki
Dirty on Purpose
Asobi Seksu
The Arcade fire
Decemberists
Yeasayer
Ladyhawk
Acoustic Ladyland
Ray LaMontagne
M Ward
Shearwater
Okkervil River
Blitzen Trapper
Shins
Bad Plus
Elbow
Devotchka
Gogol Bordello
Antony & The Johnsons

I added a few more to my above list that I just plain forgot or didn't include because of the "too new to tell factor," which I've decided to disregard.

There are some great artists listed. I especially like Sufjan, Arcade Fire, Woven Hand, and Ezra Furman.

I would add The Sparrow Quartet (Bela Fleck, Abigail Washburn, etc), Robert Randolph (I'm pretty sure that Live at the Wetlands came out after 2000), Mike Farris (Salvation in Lights), and Neal Morse (his first solo came out in 1999, but he was still in SB at the time, so I think his excellent post SB solo work should qualify).

Mike Farris was the brightest light at the recent Hardly Strictly Bluegrass Festival in San Francisco, no small accomplishment considering that Robert Plant, T Bone Burnett, Nick Lowe, Elvis Cotello, Emmylou Harris, Dr. Ralph Stanley, and Richard Thompson among many others gave great performances.

Since I'm sure no one here really needs my comprehensive list, and since there would be many duplicates from above, I'll just add the unmentioned ones:

Beirut

The Go! Team

The National

Animal Collective

Jose Gonzalez

OK - since Arcade Fire, Sun Kil Moon, Sufjan Stevens, The Decemberists, The Hold Steady, and the New Pornographers probably are my favourite six artists of this decade, I just ordered To Hell Or Barbados. I hope it's as good as Heaven or Las Vegas. Couldn't find any Watermelon Slim albums in my price range.

By that reasoning I should be buying it too. Let me know what you think of it.

The Hold Steady (all albums, although I actually prefer their earlier, more spare, gutteral work-- but it's all great!)
Keane (including the new one, Perfect Symmetry, which is better than many are saying)
Arcade Fire (more for Funeral than for Neon Bible, though NB has its transcendent moments)
Corinne Bailey Rae (best soul singer in many a moon!)
Amy Winehouse (also great-- but hope she kicks the drugs PRONTO!)
Gnarls Barkley (both albums-- Sly and the Family Stone for the 21st century!)
The Airborne Toxic Event (best anthemic rock band since Arcade Fire-- http://www.myspace.com/theairbornetoxicevent)
Vampire Weekend (fun and very catchy-- time will tell if they will last)

I have spent most of the last decade using ebay and itunes to fill in the many, many holes in my collection. That said, the post 2000 artists that stand out include The Constantines, Kathleen Edwards, the Shins, New Pornographers, Sufjan, Woven Hand and Corinne Bailey Rae. I hope I am not forgetting anyone.

Though I didn't hear of them until 2003, My Morning Jacket just slipped in during the final throes of the 90s. I guess they don't count.