10 Underrated Early 2000s Rock Songs You Need to Hear

Rock music has been at the forefront of the industry for decades, dominating the radio, record labels, and the biggest stages across the nation. So much so that the very definition of rock music may differ depending on who you ask. Beyond that, rock music from each decade, dating back to the 1950s, varies even more than the genre’s definition.

As far as the evolution of rock music goes, there were certainly some peaks; classic rock in the ’60s and the grunge era of the ’90s are chief amongst them. Plus, since the genre’s inception, there hasn’t been so much as a dip in quality at any point, as there have always been rock bands perched comfortably at the top of the charts, and that isn’t liable to change any time soon.

At the turn of the century, when people were starting to balance their consumption between their computers and their soon-to-be-defunct MP3 players, the rock bands at the top were still characterized by their most popular tracks. With a limited capacity on hard drives, the early 2000s saw the opportunity for hidden gems to become even more hidden, but these 10 still very much deserve a listen.

Neighborhood #4 (7 Kettles) By Arcade Fire (2004)

Married couple Win Butler and Régine Chassagne are at the helm of Canadian alt-rock band Arcade Fire, who have had four number one albums on the Canadian albums chart, and three at number one on the Billboard 200 chart since their debut in 2004. There’s no doubt they are one of the most successful Canadian artists to come out of the 21st century thus far.

Their debut, Funeral, did not perform nearly as well as their subsequent albums, but it was enough to put them on the radar of fans worldwide. Now, looking back on their discography as a whole, Funeral has most definitely held up, and “Neighborhood #4 (7 Kettles),” the only one of the four ‘neighborhood’ tracks not to be released as a single, is a large part of why.

The first 25 seconds of the song are an eerie sort of build into a soft guitar riff and Butler’s subtle vocals. The lyrics, particularly in the way he sings them, have a sort of pleading quality that instantly resonates, especially given the timelessness of the words. This song gets a bit eclipsed by the rest of Funeral, but it’s the kind of song that grows on you each time you hear it.

The Ice Is Getting Thinner By Death Cab For Cutie (2008)

Death Cab For Cutie struck gold with their 2003 album, Transatlanticism, which led to a record deal with the label that many strove to work with, Atlantic Records. After that, it was smooth sailing for the indie rockers who, with the following two albums, Plans and Narrow Stairs, became the kings of the early 2000s rock scene.

Their music is not exactly mellow, at least not all of it, but even their most upbeat tracks have a degree of calm that makes any song unique to them. That in mind, the songs that are mellow, are almost mind-alteringly so. The closer on Narrow Stairs, “The Ice Is Getting Thinner,” is a prime example of that mellow calm.

The lyrics of “The Ice Is Getting Thinner” detail a couple growing apart, tragically referencing the ice beneath them as it continues to melt and thin, the relationship itself deteriorating atop the dwindling foundation. This song leaves you on a blissful high upon finishing the album, exemplified by the repetition of the title refrain at the close.

Under Control By The Strokes (2003)

Live music in New York City has always been a massive scene, with many of the greatest musical acts of all time getting their start at smaller venues and clubs across Manhattan. One such band who got their start playing at intimate yet classic NYC venues in the early 2000s is The Strokes, whose debut album peaked at number 33 on the Billboard 200, the lowest of any Strokes’ album.

The Strokes’ platinum sophomore album, Room on Fire, was responsible for their third career platinum single “Reptilia.” It was also responsible for a number of other tracks that didn’t receive quite as much recognition and commercial success as they deserved. “Under Control” is exactly that—not a single nor a very big hit, but a phenomenal track nonetheless.

“Under Control” starts out with a standalone drum beat, and then Julian Casablancas chimes in with his cool, calm, and collected vocals. The song doesn’t vary all that much in its three minutes, but what it lacks in dynamism, it more than makes up for with its consistent, steady enjoyability.

300 M.P.H. Torrential Outpour Blues By The White Stripes (2007)

The very first of the early 2000s powerhouse rock bands to be inducted into the Rock ‘n’ Roll Hall of Fame is none other than The White Stripes, after just one year of eligibility no less. In their 12-year tenure, Jack and Meg White only released six albums total, but all six of them were flawless, no-skip records.

Their sixth and final album, Icky Thump, came out in 2007, and as a kid living in the suburbs of Detroit (The White Stripes’ hometown), that album release was a defining moment of my childhood. The album was an upbeat, wildly energizing LP, and one song that was more or less buried in the thick of the four singles was “300 M.P.H. Torrential Outpour Blues.”

The third song is also the longest cut on the album, and one of the longest in their entire discography. The track is predicated on a consistent, bluesy guitar riff and moves in and out from soft to loud with truly reckless, White Stripes-esque abandon.

The Piano Knows Something I Don’t Know By Panic! At The Disco (2008)

Before they became a pop rock, relatively mainstream band, Panic! At The Disco were decidedly emo, pop-punk, and even a little theatrical baroque pop at times. Their 2008 album, Pretty. Odd., is the epitome of their pre-mainstream era sound, in all its eclectic, genre-bending, pretty dang odd glory.

The singles from this album were all deeply beloved by the band’s fans, old and new, but it was the songs that didn’t necessarily achieve commercial success that really made this album shine. “The Piano Knows Something I Don’t Know” has always stuck out to me personally, not only because of its wildly intriguing title, but also for its eerily unique musicality.

The orchestral backing of this song, layered beneath Brendon Urie’s high-pitched vocals as he essentially descends into madness, gives this song an Alice in Wonderland kind of feel, like you’re blissfully falling down the rabbit hole. If nothing else, this song has a way of making its listener a little uncomfortable, but in the best way.

Free Radicals By The Flaming Lips (2006)

The Flaming Lips actually formed in the ’80s, and had a 20th century peak with their hit “She Don’t Use Jelly.” Two decades later they released Yoshimi Battles the Pink Robots, and hit another, possibly even greater peak, by gaining a cult-like following and breaking into the 21st century mainstream, almost as if for the first time.

Following Yoshimi was their 2006 album At War With the Mystics, which was their first to break into the top 20 of the Billboard 200 charts, peaking at number 11. This album took a fairly different approach than any of their previous albums—though no two Flaming Lips albums sound quite alike—and the second track, “Free Radicals,” is the true embodiment of that difference.

The song is a synthesizer-driven trip, based around a techno sequence that sounds almost like a subtle climb up, followed by a chaotic descent down, twice the distance. The vocals are layered with a techno effect as well, making singer Wayne Coyne’s voice sound almost like a half-human cyborg. How this song didn’t grab the attention of the masses, I truly have no idea.

Dark Star By Beck (2006)

Beck is another musician who got his start prior to the 21st century, and he’s had a handful of peaks throughout his career. In the ’90s, he had his first and only top ten hit with “Loser,” and he had two top five albums on the Billboard 200 chart in the 2010s. But the decade that saw the most consistent success for him was the early 2000s.

The mononymous alt-rocker released his 10th studio album, The Information, just one year after the release of Guero, and he was actually working on the two albums simultaneously. The halfway point of The Information is marked by “Dark Star,” a title whose implications, given the Grateful Dead’s “Dark Star,” would lead one to believe it was one of the album’s biggest hits.

While “Dark Star” didn’t stand out the way that the album’s singles did, it is undoubtedly one of the greatest songs on this album, complete with a nearly 25-second harmonica solo—something that very few, if any, artists could pull off in the same nonchalant way that Beck did. Beyond the harmonica, this song is the picture of laid-back, yet still incredibly masterful musicality.

Red Right Ankle By The Decemberists (2003)

The Decemberists are a band who have always sat comfortably on the precipice of the mainstream. They had a handful of top ten hits on the Billboard Hot 100, but even those songs are relatively unrecognizable. As a band, their name and music is somewhat elusive, especially compared to many of their early 2000s contemporaries.

They signed with a new record label after their debut, and released their second album, Her Majesty the Decemberists, roughly one year later. The album had some standouts that planted the seeds for their future albums’ success, but lesser known tracks like “Red Right Ankle” surely did their part, even if it did so behind the scenes.

“Red Right Ankle” boasts a folkish campfire feel, perfect for any summer night, no matter the setting. The lyrics of each verse tell a different anecdotal tale, ranging from goofy and lighthearted to serious and somber. Colin Meloy’s high-pitched vocals are distinct, and are honestly a bit of an acquired taste, but his voice could not be more perfect for an acoustic beauty like this track.

Day Old Blues By Kings of Leon (2004)

Kings of Leon reached their initial commercial peak with their 2008 album, Only by the Night, and from then on it was all glory for arguably the greatest pop rock band to come out of the 21st century. But their first platinum album in the US was Aha Shake Heartbreak, their absolutely flawless sophomore album that definitely deserves to be remembered.

The lead single, “The Bucket,” certainly remains a staple in their body of work, but the other 11 songs on this album were just as strong. Personally, I’ve always thought that “Day Old Blues” was not only one of the greatest songs on Aha Shake Heartbreak, but one of the greatest songs Kings of Leon has ever written.

First and foremost, this song is catchy. There is simply no way to listen to this song and not have Caleb Followill’s voice ringing in your head singing “Dayowl dayowl dayowl blu-hoos” for days. It’s a welcomed repetition, though, because the cycle of soft to heavy vocals and tempo make this song an absolute trip—that you won’t mind being endless.

Lion In A Coma By Animal Collective (2009)

I will shamefully admit that I was unaware that Animal Collective’s Merriweather Post Pavilion was not the origin of such a title, rather that the venue in Washington DC came first, and I will admit this only because it (hopefully) proves just how fantastic this album is. In a lot of ways, this psychedelic experimental pop masterpiece was the album that put them on the map.

Most of the songs on this album are just flat out trippy. They are driven by synthesizers and electronics, and the vocals often act like just another instrument. One song that has always stuck out as a non-single but one of the strongest tracks on the album is “Lion In A Coma.”

This song is catchy, but it also reveals itself in layers; I feel like every time I listen to this song I notice something else that I hadn’t noticed the last time I listened to it. The lyrics of each verse all sort of blend together into one long line, and the chorus (if you can call it that) is the part that lingers in your mind long after the song is finished.