What David Loved in '99:

Yeah I listened to an album that came out almost 7 years before 99… but it’s a classic. And the spring of my High School junior year definitely needed a little Corgan to “brighten” things up!

What Cassie Loves Now:

This record is so strangely intimate, even though I know hundreds of disaffected kids just like me are listening to it every day. A collection of genuinely beautiful and stirring folk songs; honest-to-Townes instant classics. They’ll make you yearn for what you didn’t even know existed.

What Cassie Loved in '99:

Man, I wanted to be Kim Gordon so bad when I was in high school!! I listened to this record over and over and over again. I really thought that if I spun it enough times I would somehow be molecularly dissembled, transported through space and time, and reconfigured as a member of the band. I was wrong, of course, but it was still worth all the repeat listens.

What Patrick Loved in '99:

Inspirational instrumental got to me 10-years ago. And even today, one shining tear still trickles down during every shimmering guitar crescendo on here.

What Patrick Loves Now:

10 years ago I was obsessed with Drive Like Jehu. Today, I’m obsessed with Obits…and Drive Like Jehu.

What Andy F. Loved in '99:

What could better for sophomore year of college than a brooding bit of self-introspection and depression? This one definitely slipped into my heavy listening cycle around '99 (though it came out a few years earlier) and hasn't ever really left.

What Andy N. Loves Now:

We just got a bunch of these awesome white label pressings from the guys at DFA. This one includes a remix of "Get Innocuous" by Soulwax , which is probably one of the best remixes of all time.

What Andy N.'s Loved in '99:

This is one of the most overlooked Pixies albums. Recorded in 1987, "Come on Pilgrim" the band's first EP, has two of my favorite songs by them, Ed is Dead and Caribou. Lots of tension here.

What Shannon Loved in '99:

This was pretty much my life 10 years ago. And if I were to be completely honest (and embarrassing) this album still kicks off most of my current dance parties. And usually resuts in injury.

What Shannon Loves Now:

Imagine Tim Kinsella (Cap'n Jazz) started a band today.

What Jory Loves Now:

I’m understating things when I say I love The Knife and I’ve been in severe withdrawal since Silent Shout. So imagine the paroxysmal episode I had when I heard Karin was back to work as Fever Ray. The wait was absolutely worth it. The debut is suffused with the expected heady sonic textures but is relieved of the immediate aggressive dance beats and with addictive, slow-burning results.

What Jory Loved in '99:

Bjork has always displayed a natural sensibility for creating grandiose interplay between stunning orchestral arrangements and frenetic electronics, but on Homogenic, she weds them. Since this was released, she’s never written a lovelier song with the timelessness and impact that you’ll find on “All Is Full of Love,” and I still wish I could have written the killer synth loop that kicks in half way through “Joga.”

What John Loved in '99:

I was reeeeely into Beck at the end of middle school/beginning of high school, and I picked this lil’ guy up (soon to be re-issued in expanded form) soon after getting and loving Mellow Gold. A wonderful surprise of understated folk, spirituals, and goofball (but lovely) jamz, recorded before he got big and when we would put out weird shit on smaller labels. Featuring the thunderous voice of Calvin Johnson (and other NW luminaries) years before I realized he was a God, and released on K Records before I quite knew what that meant either. (I wanted to throw Nick Cave & The Bad Seeds: Tender Prey on here too, but it’s OOP?! For shame.)

What John Loves Now:

I would pretty much put this on any favorites list – it came out in 2006 and I’ve probably listened to it at least once a week since. Like Neil Young’s “On the Beach” (the song) or Townes Van Zandt’s “Highway Kind”; but played through a modern lo-fi San Francisco folk perspective, mixed with the slooooow pacing and dread of Skepticism (not accidentally a Myspace influence). Or, as they say, “The Eagles on Robitussin.” Please read about Cayce (RIP) and the band’s story and pick up this CD. Haunting and beautiful… sad but triumphant – and with wonderful cloud artwork to match.

What Matt Loved in '99.

What Nicole Loves Now:

I love that Telepathe's music is created with modern electronic stuff, but conjurs up the feel of nature/tribal/forest-ness. If Princess Mononoke had a drum machine...

What Nicole Loved in '99:

The two records that I can remember listening to obsessively in 99 are ODB "Ni**a Please" (which is out of print?! travesty!) and this. Where the ODB record was mindblowing in its own right, it was kind of the can of Sparks to "Things Fall Apart"'s bottle of Cristal. I mean, this record is straight up perfect. Will someone please reissue this on vinyl!?

What David Loves Now:

Lovely sound collages of drones, field recordings and all around general beauty fills this album. Choral has multiple facets that are really only detectable at different points in the day. Listening in the morning brings out different focus points than before bed which are different than listening right after lunch… I recommend trying all three!

Also, What Matt Loves Now!

What Andy F. Loves Now:

I can't resist a bit of French swagger every now and then and these boys have got that in surplus. Sweaty garage tunes with just the right amount of twang and rumble. If you thought France was only kicking out spacey love songs ala Sebastien Tellier and Air, The Weakends are gonna set you straight.

What Kimberly Loved in '99:

This album was given to me on my 15th birthday from a friend at school. My friend and I often skipped lunch, found an empty classroom then quietly sat and listened to it all the way through sharing the earpieces from my CD Walkman. It has a nice memory attached to it and had an influence on the albums I listened to at the time.

What Kimberly Loves Now:

I love that Gary War can give two different experiences to his songs. Live, he is abrasive and in your face like some sort of psych monster. On record, he sounds calm and melancholy. I particularly like ‘Please Don’t Die’ - it's perfect in its pathos.