25 For 25: Local Musicians Discuss Their Favorite Album of the 21st Century
According to the US Naval Observatory, the 21st century began on January 1, 2001. You may be asking yourself, ‘What in the hell is a local arts publication doing quoting facts from the US Naval Observatory?’ Fair question.
It means that we’re 25 years into this here century and with that, we’ve decided to take stock of all the incredible music that’s come out thus far. And we put a special spin on it, because y’all out there in Metroland hear enough of our hot takes. We went straight to the source and talked with the artists about the albums that were incredibly influential on their own creativity.
We’ll be releasing five at a time over the next couple of months until we get to 25 albums. The best 25 albums of the first 25 years of the century, according to the Capital Region’s best and brightest. Enjoy the first installment below, and feel free to reach out if you’re an artist and would like to submit to this project!
Zan Strumfeld (Zan and the Winter Folk)
Fleet Foxes - Helplessness Blues (2011)
Introduction:
May 2011: I’m 21, finishing my third year of college. I’m about to experience my first real heartbreak, starting to write my own music, and am beginning to feel the weight of adulthood hover over me. And then, Helplessness Blues arrives – Fleet Foxes’ second full-length record, which will take over my summer and follow me like a friend throughout my life. It’s robust and warm and familiar, exuding a blend of both growth and uncertainty which still resonates so deeply with me. It’s also a record of juxtapositions: heartbreaking and joyful, grandiose and simple, confident and unsettled. In many ways, it’s me in a nutshell.
Influence:
College was such a musical sweet spot for me. I spent much of high school deep in emo and punk music, until I fell in love with folk like Joni Mitchell, The Carter Family, Nick Drake. And then, I discovered a gold mine of modern indie folkies: Laura Marling, Sufjan Stevens, Bon Iver. And, of course, Fleet Foxes. Lyrically, vocally, musically – I wanted to sound like all of them as I began blossoming into a songwriter. In a way, Helplessness Blues granted me this permission that it was acceptable to want to follow in the authentically-folk footsteps, while still finding your own sound. I feel like I’ve grown and adapted as a songwriter alongside these artists. I’m very proud of the song “Your Mother” off our record New Morse Code; there’s this beautifully stacked three-part harmony that is as Fleet Foxe-y as we could get while still sounding like us. Something I love about Fleet Foxes is you always know it’s them right away – they’re easily recognizable. That is the ultimate dream for me, too: for someone to say, oh that’s the Winter Folk sound.
The Three-Song Sequence:
”Montezuma” → “Helplessness Blues” → “Blue Spotted Tail”
“Montezuma” is the perfect introduction to Fleet Foxes and this album overall. This booming, crackling voice commands your attention right away, layered by stunning CSNY-like harmonies: So now I am older/ than my mother and father/ when they had their daughter/ now what does that say about me? There are so many times in my life where I’ve questioned my place, or wondered what I’ve done with my time – the universal concern of am I ever doing enough?
Oh have I screamed the title track out loud like an anthem. Lyrically, it’s a yearn so many of us have: we grow up with the idea that we can do anything, realize how hard that is to achieve, and find ourselves in exhausting jobs or unfulfilling situations where all we do is dream about building a life in an orchard far away from all the noise. Perfectly sung, poignantly written, quintessentially Fleet Foxes.
“Blue-Spotted Tail” is hauntingly beautiful. Robin’s voice is crisp, hovering over a delicate, finger picking guitar melody. It feels like I’m sneaking a glimpse into someone’s secret space, peering in and seeing how fragile they are in that moment. Why is life made only for to end? Why do I do all this waiting then? Why this frightened part of me that’s fated to pretend? A couple months after this record came out, one of my best friends died tragically. The night before he died, he texted his last message to me, asking if I wanted to see Fleet Foxes next month. After we buried him, I remember piling into the car with friends, holding the unbearable stillness of “what now?” I put this song on as we drove through the cemetery, staring at the hills of graves after leaving our friend behind. I will never forget how this song covered us like a blanket, a hug we all needed. I hope, in some way, this song hugs you, too.
Nate Como (Not Chinese Takeout)
Citizen - Youth (2013)
Introduction:
My vinyl collection is mostly decorative and spends most of its time on the self. Youth is the only one that sits prominently displayed on my work desk, its presence a constant reminder of what I’m striving for. I came to this record by way of the album’s biggest single “The Night I Drove Alone”; it was the depressing catalyst that sent me down the rabbit hole of fourth wave emo that sought to combine elements of post grunge, 90s alt-rock and shoegaze. In short, every record Will Yip has ever produced. At the time, I was in a weird, long-distance situationship and spent the autumn and winter months driving around Clifton Park, screaming the lyrics and drinking Sprite from McDonald’s. This is the album that soundtracked those aimless, contemplative drives. Oh, the nostalgia!
Influence:
The impact of this record has been monumental. Our songs “Say So” and “Slush” occupy the same sonic realm as those on Citizen’s Youth. Citizen is a band that gives “we just write what we feel and fuck the niche sub-genre banners and online arguments” energy. I try to do the same thing when I’m writing and arranging songs in my head. Beyond its impact on my band’s music, this album embodies the feel of autumn and winter music — the gloom and glum, the dead silence that longs for understanding. Plenty of bands in the emo sub-genre have Citizen’s music on a pedestal and rightfully so. The sub-genres that it expertly melds and absolutely owns makes it the pinnacle of this era of music for me.
The Three-Song Sequence:
"How Does It Feel?” → “The Night I Drove Alone” → “Speaking With a Ghost”
That’s the trifecta right there! Easy! Hands down! That’s it, pack it up, we’re all done here!
Simon Elijah
Jason Isbell - Southeastern (2013)
Introduction:
I was first introduced to Jason Isbell’s breakout album by my parents when I was quite young. This album connects me to home in a nostalgic way but also continues to captivate me with its vivid storytelling, catchy guitar riffs and country twang.
Influence:
Southeastern has set a high bar for people who create Americana music, ever since its release 12 years ago. When recording Southeastern, Isbell was finally sober and in a fresh relationship with his (now ex-) wife, Amanda Shires, who joins him on fiddle and backing vocals. Southeastern tells a nuanced American story, full of light and dark, and all the grey in-between. In the masterfully tragic "Elephant,” Isbell sings: "If there's one thing that's real clear to me, no one dies with dignity.” To me, this elegy for a friend dying of cancer highlights Isbell’s ability to condense a long story, filled with strong emotions, into a single line that says it all.
The Three-Song Sequence:
”Stockholm,” “Elephant,” “Flying Over Water”
Aila Chiar
Jungle - Volcano (2023)
Introduction:
Ahh, Volcano. This album by Jungle came to me at such a random point in my life. My sister happened to be playing it as we were getting ready for an event and I instantly felt my body move before I could form a thought. The rhythm, the beat, the lyrics; Magnetic but, it wasn't till weeks later I had downloaded the song to my playlist. My friend had sent me the music video to one of the songs off the album titled Back on 74 and it was then I decided that since it found me yet again, I would take it in and completely allow myself to welcome it into my life.
Influence:
I listened to the album as I cleaned my room on the second day of the 2026 New Year and let the rhythm take me for yet another adventurous ride. Feelings of excitement, love, coolness, and groove bubbled up inside me every time I listened to the album. You know when you’re in the middle of cleaning but the music suddenly takes control? Yeah, that happened and I sure as hell wasn’t mad at it. I love dancing — especially in my room when the only thing that's heard is the music and the soft rustle of my clothes against my body’s wind — and the album enhanced the experience for me. Jungle took the world with grace and warmth with its initial release in 2023. The effort, the lyrics, the song structure, the instruments used, the music videos as visual aid- it all is very inspiring and I enjoy it as well as enjoying the album with my friends and family.
The Three-Song Sequence:
Welllll, obvi “Back on 74,” “Candle Flame,” and “I’ve Been In Love.” The whole album is a bop but if I wanted to get someone hooked to the album, I’d play these three songs as we got ready for an adventurous night or mundane morning — it rises to every occasion. “Back on 74” for the moments before getting ready — the rush of it all — then “Candle Flame” to solidify the vibe and “I’ve Been In Love” as an outro to the experience. It serves Every. Single. Time.
Keith Pray
Christian Zehnder and Gregor Hilbe - Oloid (2013)
Introduction:
WARNING: not your garden variety listening experience. During Winter 2023, I had been delving into learning more about audio engineering and discovered a Swiss engineer who had made some online content about the process. In one of the videos he mentioned a project he worked on. Out of curiosity, I put it on in my studio. What happened next has changed the universe….at least mine. The album Oloid by Christian Zehnder and Gregor Hilbe was completely unexpected. Both the music and production were very intriguing and encapsulated my attention instantly and everytime I have listened since.
Influence:
As long as I can remember recorded sound has fascinated me. Those who know me understand that I have a very eclectic taste for music. That being said I felt like I had never heard anything like this before and at the same time it was very familiar. That in and of itself is a great lesson for any musician. Each track unfolded before my ears, blending traditional and unusual acoustic instruments with vocal sounds and electronics with seemingly endless space that allowed you to really hear every element as if you were in the middle of it. As a recording artist, I want to be able to take this sonic approach to my own music, giving the listener an immersive experience. I have begun adapting this process by exploring more possibilities both musically and through production. This album has reminded me that honest music is always the best approach and that expanding your own pallet and consciousness is a worthy endeavor even if you don’t choose to use it in your final product (although I am pretty sure there is no turning back for me). I thought about being more detailed in my descriptions but that would take away from the first listening experience of those who decide to ignore the above warning.
The Three-Song Sequence:
1. “Oloidiol” 2. “Trang” 3. “Oloid”
Although I find the entire album really wonderful (I have listened to it many times in a short time span), I feel this sequence is the most bang for the buck. It challenges your mind, ears and perception, all while providing something familiarly comfortable and the sonic landscapes are presented in a way that brings the listener into the minds and universe of the artists. Enjoy!
If you would like to participate in upcoming installments of 25 for 25, don’t hesitate to reach out! We’d love to hear what inspires you!