Share on Facebook Share on Twitter Share on Google+ Share on Reddit Share on Pinterest Share on Linkedin Share on Tumblr 1. The Hives – “Hate to Say I Told You So” The Hives are still churning out music today thanks largely to their rowdy live shows, a vibe that the band managed to encapsulate in their off-the-hook signature hit. A crunchy guitar fury fuels the raucous “Hate to Say I Told You So” as Howlin’ Pelle Almqvist wails his throat raw in this anthem of youthful defiance. Hell, the track even resurfaced on the soundtrack to Boyhood last year, illustrating just how much of a cultural impact was made by these sharp-dressed Swedes. 2. The White Stripes – “Fell in Love with a Girl” How can anyone make a list of the best New Rock Revolution songs and not include “Fell in Love with a Girl?” Clocking in at less than two minutes, this is the White Stripes manifesto that made the band’s presence known to the world. Jack White may have fallen in love with a girl, but here is when the many of us who didn’t have De Stijl fell in love with this two-piece. 3. The Vines – “Get Free” If there’s one hit alt rock song from the early ‘00s that would’ve fit in snugly with the grunge movement, the Vines’ “Get Free” might be it. Grinding guitar swells and Craig Nicholls’ raspy howling about breaking away and not giving a fuck seem plucked from the early ‘90s mold, and maybe for good reason—this Australian band first formed in 1994. “Get Free” (released in 2002) marked the band’s highest charting single and proved that larynx-shredding angst wasn’t only reserved for the early-‘90s Pac Northwest. 4. Yeah Yeah Yeahs – “Date with the Night” “Maps” might have been the breakthrough single, but “Date with the Night” was where Yeah Yeah Yeahs brought to the studio all the ferocity of their live reputation. An unruly coalition of filthy guitars and an amphetamine-charged glam stomp, “Date with the Night” is a towering inferno of proto-punk camp. Karen O reigns over the sleaze with hyperventilated gusto reaching the finish line, as she often does, in the throes of what sounds like a formidable orgasm. 5. Black Rebel Motorcycle Club – “Six Barrel Shotgun” Black Rebel Motorcycle Club want to rock, pure and simple. “Six Barrel Shotgun” is as pure a rock song as they’ve ever written, all balls and slightly-misplaced confidence built around an incredible riff. It’s fun, loud and raucous, and it doesn’t aspire to be much more than that. Quite frankly, that’s something to admire. 6. The Futureheads – “First Day” In which four Sunderland lads harmonize like the Hollies, play jaggedly like Devo, get melodic like XTC and narrate day-to-day indignity like the Jam. They also efface their brogues, adding a touch of rawness to the impeccably interlocked pop-punk parts that make up “First Day.” As our hero’s white collar workload accelerates, so does the tempo, making an assembly-line edict of the rock ‘n roll war cry, “Faster, faster!” 7. The Strokes – “The Modern Age” There’s something timeless about this song, one of the first that the Strokes ever released. The distortion on Casablancas’ vocals, the way that the band comes together at the beginning of the song, that guitar solo: it all seems effortless. That, of course, is what the Strokes did better than any other band of this era: they played with an effortless cool that’s impossible to replicate. 8. Kaiser Chiefs – “I Predict a Riot” “I Predict a Riot” borrows from a different time period than most of its contemporaries, replacing hedonism with anger and paranoia. Something unsettling is afoot, enough so that Ricky Wilson’s proclamation of the song’s title in the chorus feels like a call to action. A call for anarchy has never sounded so joyous. 9. Jet – “Are You Gonna Be My Girl” Sure, the song lost some of its punch due to commercial oversaturation kick-started by those iPod commercials with the dancing silhouettes. Yeah, the drums and guitar patterns do sound a hell of a lot like Iggy Pop’s “Lust for Life.” So what? Australia’s Jet put out one of the catchiest songs of the New Rock Revolution. “Are You Gonna Be My Girl” is brash and boisterous while also being (as Apple recognized and exploited) broadly appealing. 10. The Libertines – “Vertigo” At their best, the Libertines had a cocksure swagger about them; “Vertigo” depicts a band with confidence. Its bouncy rhythm almost recalls Merseybeat, but this is a song steeped in inner-city grime and hedonism. While hard living came back to bite Pete Doherty in the ass, he knew how to make it sound like the best time in the world. 11. The Von Bondies – “Lack of Communication” Jack White’s contributions to the garage rock revival of the early 2000s spread further than his direct influence with the White Stripes—he also produced the debut album by fellow Detroiters the Von Bondies. The band’s sound seemed to transcend the garage, often delving into slower tempos and jazzier inflections than many of their contemporaries. But the lead (and title) track of their debut offers up a churning wall of guitar, warbling vocals from Jason Stollsteimer and a rolling drum and cymbal attack that made the band’s very first impression a memorable one. 12. Electric 6 – “Danger! High Voltage” Dick Valentine was at Taco Bell at least half a decade before Das Racist – or was it the disco, or the gates of Hell? It’s all the same to Valentine and co., whose oversexed, overdriven, super-slick sound answers only to the forces of irony and no one else. Fellow Detroiter Jack White’s androgynous hysterics, and a spastic sax straight off “21st Century Schizoid Man,” usher into fever pitch what is easily early-aughts dance rock’s most sublimely stupid single. 13. The 5,6,7,8’s – “Woo-hoo” As with most things, the Japanese were ahead of the West when it came to refurbishing rock of yore. Released in 1996, “Woo-hoo” was all walking basslines, tumbling drums, goofy swagger on a 12-bar blues progression and nothing else, the title the sole lyric. Its surf rock minimalism was prescient; by the time Quentin Tarantino delivered “Woo Hoo” to the American tastemaking masses via 2003’s Kill Bill Vol. 1, stripped-down nostalgia had taken hold as the ethos of rock’s new wave. 14. White Stripes- “The Union Forever” The White Stripes have walked away the clear victor of best band of the New Rock Revolution. White Blood Cells and Elephant will likely be remembered as the cream of the crop, both laden with big hooks and even bigger hooks. “The Union Forever” may never be uttered in the same sentence as “Seven Nation Army,” but it’s heavy, gloomier and angrier than that. Film buffs especially will have plenty to chew on here. 15. The Strokes – “Someday” “Last Nite” may be best remembered from Is This It, but “Someday” best defines the best of the Strokes. Sporting a killer bridge and some bold guitar work, “Someday” best captures that melancholy feeling that tinges the music of the Strokes. Alone we stand, together we fall apart, indeed. 16. Interpol- “NYC” By far the mopeiest of the New Rock Revolution bands, Interpol were often dismissed as mere Joy Division knock-offs. While subsequent albums did yield diminishing returns, first album, Turn on the Bright Lights (2003), manages to still resonate more than a decade later, its shining jewel “NYC.” An ode to New York, “NYC” is a broken pastoral to that glorious city’s subways and cracked sidewalks. It is both personal and soaring; simply one of the best songs of the decade.