Pigs, “Wrap It Up”

Just bottle that opening guitar sound and sell it by the case, I’ll buy it and pour it directly into my nostrils.

Dodecahedron, “Finale”

Ooh, backwards vocals. So evil! I’m cowering!

Boris, “Riot Sugar”

I’ll never get tired of mentioning this when it comes up: this is from Heavy Rocks. No, not the one from 2002. No, not the one from 2022. The one from 2011, the same year they released three other albums. Nobody has had the career that Boris has had, and very few bands have been harder to keep up with. At any rate, this Heavy Rocks is excellent mid-career Boris, crunchy and pretty diverse, a relatively accessible record but undeniably heavy. And yes, it rocks.

MC Paul Barman, “UNDOING ALONENESS”

Back when MC Paul Barman was just getting going, I remember a lot of thinkpieces coming out about him. Lots of descriptors for him describing him as smart or whatever in a way that in retrospect just strikes me as gross. To his credit, he never seemed to try and court that reputation or try and turn himself into a savior or anything. He just made his debut record, popped up on guest spots every now and again, and mostly kept a low profile. His output wasn’t fast, with his first record in 2002 and this, his third, in 2018. But, overall, it’s fun stuff - off-kilter but entertaining, and worth looking into if you read the hype back in the day but never actually tried it.

The Budos Band, “Ghost Walk”

The Budos Band are brilliant, always worth listening to, but they don’t always do cool. This song, though, is so smooth and cool, a standout from their brilliant first album.

Squarepusher, “Nux Vomica”

Burningn’n Tree is a collection of Squarepusher’s earliest EPs (one not even credited as Squarepusher), along with a few new tracks for the album. As a result of being a collection, as well as being from when Tom Jenkinson was still kind of sorting out what he wanted to sound like, it’s uneven. So it’s interesting stuff if you’re a Squarepusher sicko, but you have a lot of records to get through before you should get to this.

The Flaming Lips, “The Sparrow”

King’s Mouth: Music and Songs is a bit of a return to a previous style for the Lips, sonically sounding a lot more like The Soft Bulletin than The Terror. But it’s also a big concept album, and I think that gets in the way of the songs, and not only that, the songs themselves feel just a bit forced to me. It just all kind of seems like a bit of a blurry copy of their mid-career stuff.

Mort Garson, “Baroque No. 2”

Mort Garson is a synthesizer pioneer, one of the first people to record music with a Moog. Sacred Bones has been reissuing his work, both his records and various rarities from his estate’s archive. This is one of the latter, Music From Patch Cord Productions, and it’s just lovely stuff.

Basement Jaxx, “Cish Cash”

Talk about missing the boat. Basement Jaxx is best known for their debut album, Remedy, which was huge. I did not get it, nor their follow-up. But they put Siouxsie Sioux on this record (on this song, in fact), so sure, let’s give it a try. Sure, let’s not get the big record. Anyway, it’s fine. Not really my jam. Hard to really say anything bad about something this cheerful and energetic, though.

Noisem, “Birthing the Bestial”

A lot of what I like about thrash are when you’ve got really chunky, memorable riffs and some pyrotechnic squalling solos. So I ought to love this, right? But I dunno, it’s fine. I don’t really reach for it. I think I have a hard time falling in love with new thrash. Although this isn’t new any more, so maybe I’m just a bozo.

The Joykiller, “What It’s Worth”

This apparently is an LA supergroup, but I didn’t know that at the time. I ended up grabbing it because it was on Epitaph, the cover art was strange, and it was in the new release rack at Easy Street. By and large, I never regretted just buying random records, sometimes I found some great stuff. And sometimes, you end up with this record. Can’t win ’em all!

LCD Soundsystem, “All My Friends”

This is my favorite LCD Soundsystem song, by a fair ways, as the melancholy mood and nostalgic lens here is just kind of irresistable. And that piano, this is just such a damn jam. Please enjoy.

Trans Am, “Diabolical Cracker”

Is this, like, a sulferic Wheat Thin? Or just, you know, a cop?

The Streets, “Never Give In”

The Streets should be, maybe even are, the corniest act ever. But they’re saved by a core of sincerity at the heart of things which let them bypass all the corniness. It’s a high-wire act in the extreme, to be sure, and the vast majority of people who tried this sort of thing would sound awful. But he sticks the landing.

Charles Mingus, “Goodbye Pork Pie Hat”

Ladies and gentlement, the pilot has illuminated the “JOSH IS NOT QUALIFIED TO TALK ABOUT JAZZ” light, please return to your social media app of choice and return your seats to the upright and locked position.

Boris, “Hama”

Amplifier Worship is the first studio album from Boris if you ask them, because they consider Absolute Go a single. It’s a 60-minute single, mind you, but it’s still a single as far as they’re concerned, so this is the first album. And it’s a banger, the first in a very long string of fantastic albums. I’m not sure Boris really redfined anything, or set a template for other bands to follow or anything. They’re just consistently great across decades. That’s all.

Lollipop, “7 and 7 Is”

There’s a real danger in over-intellectualizing a lot of rock. Something like this, pure garage punk, run on attitude, energy, and racket. That’s not to suggest it’s poorly constructed, or that Lollipop didn’t know what they were doing, or anything like that. They knew what kind of music they wanted to make, and they were very good at it. It’s just that deconstructing this further is a waste of time. Can you feel the energy? Does it get you amped up? Does it make you want to throw a chair through a window? Mission accomplished!

Bim Skala Bim, “Sunshine of Your Love”

Bim Skala Bim enjoyed covering classic rock warhorses over their career, songs which are really kind of ideal targets for this kind of thing. Any dork who will get upset about a cheeky cover of Cream of Pink Floyd is really showing their ass. Anyway, this is fun, sure, why not?

Upon proofreading, I’m leaving the “Cream of Pink Floyd” typo in there, because it’s delightful. Yes, I proofread these, dammit.