The Aislers Set, “Chicago New York”

No, this isn’t some Belle & Sebastian tribute band. Chicago’s Aislers Set do play pop very much in that vein, uh, obviously. But there’s more variation on this album than this song might suggest, as this is probably the most B&S song on the record. It’s a solid set of tunes, so if you’re looking for some new pop, it’s worth a go.

Rilo Kiley, “A Better Son/Daughter”

Turn of the millennium indie bands represent!

H.P. Lovecraft Historical Society, “If I Were A Deep One”

The arc popularity of Lovecraft’s writing has been kind of an interesting one to watch. When I was a kid, Lovecraft was largely unknown outside of only a handful of turbo nerds. Call of Cthulhu, the tabletop RPG, did exist, and it slowly brought awareness to Lovecraft’s writing, which was extremely niche in prior years. As the years ground on, and as nerd “culture” continued infiltrating the broader culture, referencing Lovecraft’s writing became just a general shorthand for cosmic horror, a way of gesturing at the ineffable horrors of the universe. Thus, it was invevitable that Lovecraft would slowly become more of a punchline, a cheap gimmick to gain some laughs of recognition from people who understand that this stuff is supposed to be horrible, but look! It’s being played for laughs! SO SUBVERSIVE!

The Hidden Cameras, “Fear Is On”

This is far, far too twee. I want to knock the books out of this song’s hands and then stuff it into a locker.

Destroyer, “An Actor’s Revenge”

Your Blues is extremely Bowie. There’s always some Bowie in a Destroyer record, of course, but this one has always struck me as the most Bowie. Can it be more Bowie? The answer is none. None more Bowie.

NoMeansNo, “Forget Your Life”

NoMeansNo mostly played super dextrous, complicated hardcore, but they were capable of slowing down the tempo for pounding tunes like this one. It’s the doom metal equivalent of hardcore. Doomcore? A quick search suggests that doomcore is some EDM subgenre. Harddoom doesn’t work either? Eh, fuck it.

Devin the Dude, “To tha X-Treme”

Sorry, couldn’t write an entry here, too busy nodding my head the entire time.

METZ, “Drained Lake”

There’s a relentlessness in this kind of noise rock, where the songs specialize in a propulsive beat that just keeps chainsawing ahead regardless of what else is going on. I’ve compared the sound to a malfuntioning machine, and I think in both the steadiness of it and in the harshness of some of the noises it fits. Brilliant stuff.

The Squirrels, “Money”

There’s plenty of hay to be made in mocking the pomposity of big 70s rock. Punk rock, of course, is largely a reaction to it, both in defining everything the aesthetics of punk were not as well as providing a source for mockery. But it’s not limited to just punk, the bloated blimps of AOR are juicy enough targets that everybody takes a shot.

Piss Vortex, “Voice of the Worthless”

Now, see, if you remember that Iskra track from yesterday, you might say that this sounds like the same shit. But if you listen to enough of this garbage, you’ll hear differences: the vocals sound like they are yelled through a bullhorn instead of strangled, and this is just relentless blasts. So, grindcore, not something else. If it’s just focused on speed and aggression, you’ve got yourself some grindcore.

DJ Shadow & Cut Chemist, “[Part 2]”

Oh shit! Enjoy! This is the second half of Product Placement, the breakbeat extravaganza collaboration between two break experts. Incredible stuff, and honestly, I could probably just end today after this. This project ties together the songs that provide the key breakbeats that hip-hop was built out of, but provides more context for them, and it rules.

TWRP, “Need Each Other”

Gleeful electro-funk outfit TWRP are entirely about cranking up a good time with the fattest grooves they can conjure. Is it pointlessly retro or not? I don’t think it matters, frankly. If they can bring it, does it matter that they’re conjuring the sounds of the 80s?

Talib Kweli, “Guerilla Monsoon Rap”

I don’t normally list guest artists on the title line, but check it: Black Thought and Pharoahe Monch. Super nice! Kweli is at his best when he’s got other top-tier MCs to work with, part of the alchemy of Black Star.

Conlon Nancarrow, “Study For Player Piano No. 14”

As always, there’s nothing really like Nancarrow, with music that feels about as alien as possible while still seeming like there’s a plan. Even if you can’t actually put your finger on that plan.

Propagandhi, “Stick the Fucking Flag Up Your Goddamn Ass, You Sonofabitch”

Preach it, Propagandhi! Used to crank this tune driving around Spokane with the windows down, which was probably less risky in 1995 but not without risk.

The Gabriel Construct, “Ranting Prophet”

This is a progressive metal project led by Gabriel Lucas Riccio with help from a bunch of guest artists, and it’s a real trip. I suppose you can tell from this track if you’re going to like this thing or not. I admire the ambition of it, certainly.

The Jon Spencer Blues Explosion, “Hell”

This, from Xtra-Acme USA, is kind of a sketch of a song, but it still cooks pretty good. I mean, just one good “weeeeeeeeeeellllllll” from Spencer is enough to get me going.

Pile, “appendicitis”

There’s some other song that I can’t quite put my finger on that the intro to this song reminds me of. I feel like the guitar tone is very Black Francis, but I’m not entirely sure what song it’s trying to trigger for me. Once you get into the meat of the song, though, that feeling of reminding dissipates.