The 18 Best Concept Albums of the 21st Century (So Far)

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Ptl-winners-never-quit.jpg 9. Pedro the Lion – Winners Never Quit (2000)
The concept: A corrupt politician goes way too far
Pedro the Lion’s David Bazan revisited the concept album with 2002’s Control about a unfaithful businessman killed by his wife, but his first Winners Never Quit packs an even greater punch. Faced with losing an election, a self-righteous politician fixes the results, justifying his corruption for the good of his cause. When his wife threatens to expose him, he murders her. His brother, the black sheep of the family, notes the irony of the long fall from grace.

Hadestown_A-Mitchell.jpg 8. Anaïs Mitchell – Hadestown (2010)
The concept: An update of the ancient Greek myth of Orpheus and Eurydice
Mitchell employed guests like Bon Iver’s Justin Vernon, Ani DiFranco, Greg Brown and The Low Anthem’s Ben Knox Miller as characters like Persephone and Hades, as Orpheus tries to rescue his love from the Underworld.

JayZ_American_Gangster_Cover.jpg 7. Jay-Z – American Gangster (2007)
The concept: Songs based on the character Frank Lucas from the film of the same name.
On the Charlie Rose Show, Jay-Z said, “It’s a New York City true story, you know. So as soon as the movie came on, it was like familiar, things that my pop seen and my uncles seen and, you know, different things like that, things I’ve seen growing up. So they resonated with me in a way, the story, as well as, I mean, even though everything happens, you know, the way it turns out, you know, it’s one of those movies that where you champion the bad guy, because the bad guy, you know, he don’t seem like a bad guy, and the good guy—I mean the good guys are bad. You know, that complex—the complexity of human beings in this thing was amazing to me. I loved the complexity of the human beings.”

Arcade_Fire_The_Suburbs.png 6. Arcade Fire – The Suburbs (2010)
The concept: A rumination on sprawl that’s both loving and critical
At 16 songs and an hour-plus runtime, The Suburbs is Arcade Fire’s most ambitious and concept-driven effort to date. Vast stretches of the album feel tamped down, as if it’s sonically emulating its subject. Where past Arcade Fire songs built upwards, these unfurl flat and wide; the euphoric spikes that served as Funeral and Neon Bible’s beloved rallying points are strangely absent here, spaced farther and farther apart. Arcade Fire seems to be testing us, luring us down into the lowlands. A vein of emptiness and Beckett-esque waiting courses throughout; as so often in real life, these suburbs are a kind of purgatory with no exit in sight. The neighborhoods that once offered promises of allies and escape now revert to walled-off prisons, where “human voices [are] only echoes.” On album climax “Sprawl I (Flatland),” Butler is likely drawing on his childhood in the vast Woodlands suburb of Houston, Texas in this tale of bicycling through an old neighborhood, searching in vain for a childhood home amidst mazelike, uniform streets.—Andy Beta

TheHazardsofLove1.jpg 5. The Decemberists – The Hazards of Love (2009)
The concept: A woman who falls in love with a shape-shifting deer. A widower murders his own children.
The Hazards of Love, follows the fair maiden Margaret who comes across a hurt fawn while walking in the woods. As she tends its wounds, it transforms into a charming young man named William. They fall in love and Margaret becomes pregnant, but the Queen of the Woods who has adopted William helps the cold-hearted, child-killing Rake steal Margaret away across the mighty river. Fortunately for our heroes, the ghost of the Rake’s three children come back and take revenge on their dear old dad. William then finds Margaret, and they both live happily ever after—at least until they try to cross back over the river and drown in its waters. It’s not the cheeriest tale, but it’s accompanied by a completely original combination of ’60s British folk, ’70s prog rock, ’80s crunchy metal and ’90s alternative all wrapped up in a pioneering indie-rock package. My Brightest Diamond’s Shara Worden lends her quivering voice as the Forest Queen, and Lavender Diamond’s Becky Stark is well-cast as Margaret. Other guests include Jim James and Robyn Hitchcock. Not everyone can tolerate rock musicals filled with harpsichord, and talk of thistledown, lithesome maidens and Offa’s Wall. But those folks probably didn’t make it through Picaresque’s nautical themes or The Crane Wife’s three-song suite about a Japanese folk tale. The Hazards of Love is the payoff for fans who’ve been drawn to Meloy’s nerdy bookishness. English lit majors and prog rock fans of the world unite!

Forgotten_arms.jpg 4. Aimee Mann – The Forgotten Arm
The concept: Lovers run off together with an unhappy ending
The Forgotten Arm follows the travails of a Virginia carnival worker and a down-and-out boxer who meet in Richmond not long before he’s sent to Vietnam. Inevitably the boxer returns with a drug addiction and the carnival worker spends most of the album contemplating the relationship’s fiery tailspin, trying to muster the courage to eject.—Dave Sims

Janelle_Monáe_The_ArchAndroid.jpg 3. Janelle Monae – Metropolis, Suite I: The Chase (2007), The ArchAndroid (Suites II and III) (2010)
The concept: A love-lorn android travels back in time to free the future
In the year 2719, Platinum 9000 android Cindi Mayweather is mass-produced for the wealthy citizens of Metropolis. Bestowed with a soul, Cindi joins the cyber soul rebellion and falls in love with billionaire Sir Anthony Greendown—a major breaking of the rules. When she’s sentenced to disassembly, she escapes to the wondergound, where her true destiny as the ArchAndroid is revealed. She’s sent back in time to put an end to The Great Divide, a covert operation which suppresses freedom and love.

SouthernRockOpera.jpg 2. Drive-by Truckers – Southern Rock Opera (2001)
The concept: The rise and literal fall of a Southern rock band
Patterson Hood  talked with his producer Earl Hicks about writing a semi-autobiographical screenplay loosely based on the plane crash that killed Lynyrd Skynyrd. That project became Drive-By Truckers third studio album, with Betamax Guillotine serving as the fictional band. The first act deals with a young boy trying to reconcile his love of the South while acknowledging the region’s demons. As the boy becomes a rock star, poor choices lead to a tragic ending. But the real villain of the story is Alabama governor George Wallace, as the songs tackle poverty, class, race and Southerness.

Illinois-stevens.jpg 1. Sufjan Stephens – Illinois (2005)
The concept: The 21st state, unabridged
Like he did on 2003’s Michigan, Sufjan Stevens explores all facets of Illinois, from the history to the culture to his own personal reflections. From Superman to John Wayne Gacy Jr. to Stephen A. Douglas and Abraham Lincoln are covered in Paste’s best album of the last decade. Stevens collected facts and anecdotes about the great state of Illinois, stringing them together in ambitious rhyme schemes and wrapping them in meticulous arrangements. “Decatur, or, Round Of Applause For Your Stepmother” is superficially a song about a city, but beneath the textbook trivia is Stevens’ story of reconciling with his father’s wife. The gut-wrenching “Casimir Pulaski Day” is about a friend dying of bone cancer, and “The Seer’s Tower” looks at idol worship from the perspective of Chicago’s tallest building. And then there’s “John Wayne Gacy, Jr.,” the hushed, nightmare-inducing acoustic song about the rapist and serial killer who preyed on teenaged boys, hiding their bodies under the floorboards in his Chicago home. “His father was a drinker and his mother cried in bed / Folding John Wayne’s T-shirts when the swing set hit his head,” Stevens sang, referencing a true story—at 11, Gacy was hit in the head by a swing. But the song’s conclusion is what got people talking: “And in my best behavior, I am really just like him,” Stevens half-whispered as the music quieted behind him. “Look beneath the floorboards for the secrets I have hid.” It was startlingly confessional, “a remark about potential more than anything else,” the songwriter says now. “We’re all capable of what he did.”—Kate Kiefer

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