Foetus, “Clothes Hoist”

Foetus released live albums pretty often, which were usually pretty good. The live show was often more direct and noisier, driven by having a live band making a racket. So it’s not just a re-hash of the album tracks, making them good listens if you like Foetus. This is from Boil, and the track is originally from Hole.

Antipop Consortium, “Splinter”

I got totally lost in the rhymes in the first verse.

Another month in the books! Still hanging in there on the daily grind, but it’s definitely been a little more wobbly.

Leprous, “Alleviate”

Like clockwork, Leprous puts out a record every other year, and with each passing album, they just get more and more theatrical. Is this even metal any more? I don’t think so! This is some serious theatre kid rock at this point. Doesn’t stop me from buying each of these records, mind you.

Nitzer Ebb, “Control I’m Here”

That Total Age was more towards the industrial end of industrial dance, with more clanking machines in the sound, and Showtime found them pushing a little more melody in things and varying their arrangements more. This comes from the album in-between, Belief, where they kind of blended those two approaches, and arguably made their more interesting record. There’s a risk in industrial dance in ending up in parody, but this album is so direct in its intention that it feels pretty good.

Melkbelly, “LCR”

LCR is also the name of maybe the worst board game that has achieved any substantial success. I don’t know how many copies it has sold, but LCR is an embarrassingly bad game design that has been successful enough to appear in stores for years and years. Just appalling shit.

Zeke, “Rid”

Around here, we have a love for pure, hard-charging garage rock that cannot ever be sated. There is no quantity of fast riffs and shouted vocals that will slake our thirst. So, add Zeke to the pile of bands that have attempted to satisfy our hunger, but we need more.

Matthew Sweet, “Divine Intervention”

When someone says “power pop”, this is the song that pops into my head. I know that there are plenty of other bands that really defined the genre, and that I should be thinking of them. But I don’t. It’s this song.

Juggaknots, “Liar, Liar”

I found the Juggaknots after falling in love with Prince Paul’s A Prince Among Thieves, where Breezly Brewin just kills it. So I went to track down more of his stuff, and sure enough, the Juggaknots also rule.

Pond, “Filler”

As always: not the Australian band, but the grunge-adjacent band from Portland. And also, as always, I’ll recommend all three Pond records as being some of the finest from the grunge scene, peripheral as they were. This tune is off their worst album, but it’s still a solid slab of rock.

P.D.Q. Bach, “The Preachers of Crimetheus: Ballet in One Selfless Act, S. 988: I. Prologue (Bottomless Sorrow; Topless Gaiety)”

There’s a referential thing going on in most P.D.Q. Bach albums, where he’ll call back to figures and bits from prior in the album, and listening to single tracks kind of blunts what he’s up to. So I’ll just recommend sitting down with an album (this one, 1712 Overture & Other Musical Atrocities is a fine choice) and sitting with it.

Think Tree, “Everything Is Equal”

This is extremely college radio circa 1991. If you wanted to know what that sounded like. (Nobody should.)

Portishead, “The Rip”

Portishead put out an absolute stone-cold classic in Dummy and a fine follow-up, Portishead, before disappearing. Nobody really sounded like them then, despite plenty of people trying. But, surprisingly, they weren’t actually done. 11 years after their second, they put out Third, and there’s still nobody sounding like them. The album isn’t really the same cinematic trip-hop that they used to make, instead blazing their way into a brand new direction. I’m not even really sure how to describe it, honestly. I guess it’s just experimental rock? For a band that was always an outlier, Third is the outlier-iest.

Neat! Lookit all the twos!

The Supremes, “Baby Love”

I don’t usually have a ton to say about these iconic Motown hits, based on my assumption that people have all heard them a thousand times and are intimately familiar with them. But I’m not sure how true that is, as I reflect on it. Did the generation after me have oldies stations on in cars, restaurants, and other public places as they grew up? I’m not sure, and it’s possible this stuff is more novel. Well, anyway, enjoy!

Monobody, “Curry Courier Career”

Is there such a thing as a math jam band? I think there might be.

Trigger Cut, “Fireworks”

This is just pure throwback to mid-90s Amphetamine Reptile stuff. It makes the Pavement band name a little off, though, they should have called themselves “Shitbeard” instead. Anyway, you know I’m a sucker for this stuff.

Vampire Weekend, “Horchata”

This is actually the song that kind of clangs the most from the second Vampire Weekend record. It just feels far too clever, like it’s trying too hard, and ends up ringing false to me. It seems more like the result of a computation than something genuine. I don’t know exactly why that is, but that’s what I get from it, and largely from the entire album. Like Ezra Koenig decided to build the song around that horchata/balaclava rhyme, just to get it out there.

Green Day, “Hitchin’ a Ride”

Nimrod is an uneven record, but I really like the high points of it, and this is one of them, I think. It’s nice to hear them expirimenting with their formula some, as Insomniac really did not at all.

The Budos Band, “Arcane Rambler”

Burnt Offering found the Budos Band referencing hard rock pretty explicitly in their music, and it was a really nice breath of fresh air. The following album returned to their numbering system, and V represents kind of the midpoint between III and Burnt Offering. There are still some of those same hard rock riffs here and there, but the Afrobeat is clearly back in the driver’s seat. It’s a great album from a band that have really taken it up a notch in their last few albums.