We've already shared our Albums Of The Decade. Now it's time to list the 100 best tracks of the noughties, as compiled by a jury made up of NME critics.

Disagree with our choices? You can vote your own favourite tracks to the top in our Tracks Of The Decade Readers' List - and let us know what you think by piling into the debate over on the NME office blog.

NME's 100 Tracks Of The Decade was written by Tim Chester, Jamie Fullerton, Luke Lewis, David Moynihan, Hamish MacBain, James McMahon, Emily Mackay, Ash Dosanjh, Ben Patashnik, Alan Woodhouse, Martin Robinson, Matt Wilkinson.

90Empire State Of Mind (2009)

Every [a]Jay-Z[/a] album has one song in exactly this mould. And on each Jay-Z album, it’s invariably one of the highlights. Triumphant, strutting and glistening with brass wrenched up from dusty vaults onto the mean streets of Now. It’s the burst through the door of the party, ‘I’m back!’ number. Alicia Keys sirens the hook with the swooning, soulful warmth of Whitney or Mary J in their prime. The third single of the feverishly anticipated 'Blueprint 3', it’s the best track he’s released since its natural predecessor, 2003’s ‘Encore’. [b]JH[/b]

89Chemtrails (2008)

‘Modern Guilt’ was a short, often sonically meandering and lyrically baffling kind of an album, and its preview track was no exception. By this point [a]Beck[/a] had more than settled into his role as one of America’s most chameleonic, constantly compelling performers, and on this he delivered a mantra of conspiracy theorist paranoia that only served to intrigue us all even further. His beautiful falsetto here sits beautifully over an elastic bassline, propulsive drums and some marvellously intricate production courtesy of [a]Danger Mouse[/a]. Quite simply: this was one of the finest pieces of music [a]Beck[/a] has made in this or any other decade. [b]HM[/b]

88Sea Within A Sea (2009)

When [a]The Horrors[/a] emerged in 2006 as gothically themed garage rockers, hype quickly gave way to backlash. The darlings of Southend’s Junk Club scene were dismissed as one-trick ponies, and poor sales of 2007 debut album [b]‘Strange House’[/b] cost them their major-label deal. When they returned in 2009, they were unrecognisable. Mesmeric comeback single ‘Sea Within A Sea’ ran to seven minutes instead of the customary two, featured Faris Badwan singing instead of screeching, and mined a new influence: the smooth, pulsing dream-rock of [a]Can[/a] and [b]Neu![/b]. The stage was set for 'Primary Colours' – and [a]The Horrors[/a]' ascent to greatness. [b]AD[/b]

87Katrina (2007)

It wasn't until Vice Records released 'Good Bad Not Evil' in the UK in 2007 that Atlanta dirt-rockers Black Lips came to wide(ish) public attention in Blighty, but the shove couldn't have been heralded better than by their greatest song – the moody, brooding yet rip-throat raucous 'Katrina'. With a bass intro more hummy than a beehive, the song soon explodes into a clatter that personifies their cut-loose personalities perfectly, while when played live they morph it into a stretched blues haze that gives it a whole new psychedelic life of its own. [b]JF[/b]

86Balloons (2007)

"We fly balloons on this fuel called love" sings/shouts [a]Foals[/a] singer Yannis Philippakis repetitively. Tender and floating synths are kicked to shreds by pointed guitar daggers and a sharp, unyielding drumbeat. The band's third single, and the first from their impressively melodic-yet-energetic debut album 'Antidotes', 'Balloons' was a stunning clash of sounds, dappled with influences from dance-punk to math-rock. The band decimated Reading Festival with a brilliantly chaotic live show, appeared on TV's Skins, Yannis cropped up on an NME cover and the indie universe appeared to have found 2008's heroes-in-the-making. And then... all went rather quiet. Notorious perfectionists with their recordings (the band rejected superproducer Dave Sitek's version of their debut album and mixed it themselves) we're due the second LP in spring 2010. Keep your fingers and toes crossed for something very, very special. [b]DM[/b]

85Sunrise (2007)

What a track. From the opening choir-like vocals and slamming piano chords, a sound like screaming children and warm, rolling bassline, it's clear that this is no ordinary song. "I wanna get in the sunlight" sings frontman Chris Keating as the music ascends into a blur of Middle Eastern-influenced, psychedelia-infused, whirling, trippy, gospel goodness. Hailing from – where else? – Brooklyn, the band released their critically-acclaimed debut 'All Hour Cymbals' in 2007, before touring with [a]MGMT[/a] in 2008 as the 'psychAmerica' sound spread like a spilt lava lamp. Look out for the new album 'Odd Blood' in 2010, with the equally-as-great track 'Ambling Alp' already being played by the band at live shows and providing a thrilling teaser of what's to come. [b]DM[/b]

84Bad Cover Version (2001)

They only released one album this decade (2001's 'We Love Life'), and this was its best track. The lyric is one of Jarvis Cocker's finest, pointing out that there's no substitute for feeling real love by way of pointing out a number of popular cultural landmarks gone rotten (the Stones in The '80s, Tom & Jerry when they could talk and, cheekily, album producer Scott Walker's ''Til The Band Comes In' album). Oh, and it had a great 'Band Aid' parody video where Jarvis played Brian May. [b]AW[/b]

83Independent Women Part 1 (2000)

Cast your mind back to 2000 and Beyoncé was the one in [a]Destiny's Child[/a] who had something, well… a bit special about her. Ostensibly a trio, it was clear that Beyoncé was the leader of the pack. But what a pack they formed: Beyoncé, plus sidekicks Kelly Rowland and Michelle Williams, were every bit as bold and beautiful as the 'Charlie's Angels' whose film this song provided the soundtrack for. "The watch I'm wearing – I bought it. The house I live in – I bought it" declared the singers. The only irony, of course, being the fact that the 'independent women' of the film reported to the ever-so-boringly-male boss Charlie. Not that that fact stopped women everywhere from relishing the empowering lyrics as the song hogged the US top spot for a massive 11 weeks and repeated its smash-hit success at Number One in the UK, Canada, Ireland and New Zealand. [b]DM[/b]

82Sex On Fire (2008)

It's become a bit of a drive-time, FM-rock cliché – which is strange, because 'Sex On Fire' is really quite a filthy song, describing a shag so mind-bendingly amazing, it's almost a bit scary ("Knuckles are pale, feels like you're dying…"). Caleb Followill didn't think much of it at first, he didn't want to include it on 'Only By The Night', but he was convinced otherwise. Just as well – it became KOL's biggest hit by miles, rubber-banding them into the mainstream, to the point where, distressingly, even The X Factor's Jamie Afro covered it. [b]LL[/b]

81Olympians (2009)

On their first album 'Street Horrrsing', noise duo Fuck Buttons sounded dark and abrasive – they were a bit too Nathan Barley, "Terrorists are gaaay!" to be truly likeable. Wisely, on their second album 'Tarot Sport', they added a bit of humanity to the mix - specifically a mood of colossal sadness, combined with a weirdly heroic quality. That was particularly evident on the 11-minute 'Olympians', which called to mind images of a stately, slow-motion funeral cortege in the cold depths of space. [b]LL[/b]

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