The Arsonists, “Underground Vandal”

The Arsonists’ debut album, released in 1999, was very much a throwback record. Not just in sound, but in the way it was created. By 1999, hip-hop had moved into an era of producers being stars separate from rappers. But the Arsonists did everything as a group, including the production, which was unusual for the time.

Times New Viking, “My Head”

There’s something so abrasive and unhinged about Times New Viking’s particular racket that listening to them really kind of scrambles your brains. Strip away the fuzz, the overdriven amps, the squalls and washes of feedback, and what you get is pretty simple pop songs at the center. Personally, I don’t find the artiface all that convincing, so this is the only album I ever picked up from them.

The Chemical Brothers, “Where Do I Begin”

We’ve talked before about how “Block Rockin’ Beats” was (deservedly) a galactic scale hit. I have to wonder how people who bought the record thought about the rest of the album, which is excellent, but which gleefully throws genre after genre into the blender and is pretty all over the map. I’d like to think that people put it on and thought “fuck yeah”.

De La Soul feat. Usher, “Greyhounds”

De La Soul launched a Kickstarter in 2015 to record their new album using a new method. Tired of chasing and clearing samples, they decided to bring musicians in to the studio to record them playing a bunch of different things, and then used those sessions as their library of music to sample and construct the tracks. The resulting album, …And The Anonymous Nobody, isn’t one of De La’s best albums, but how could it possibly be? It is very good, though, and clearly a different record from the ones that come before it. If you haven’t listened to anything from De La Soul from after the Prince Paul years, you should listen to…well, Stakes Is High. And then The Grind Date. And then probably this one!

Ghostface Killah, “Wildflower”

Ghostface’s first solo record, Ironman, is very good. A RZA produced record from 1996 couldn’t help but be good. But I think Ghostface’s unique personality hadn’t quite fully come through, and the production hadn’t quite yet differentiated totally from the Wu-Tang Clan. So it doesn’t reach the heights of many of Ghostface’s later records.

Algiers, “Blood”

The first Algiers record is a heady mix of gospel and murky post-punk, a combination that immediately stands out from basically anybody else out there. While there are moments when you can kind of see the seams, it’s a prety incredible record, especially for a debut.

The Cinematic Orchestra, “Flite”

Last time, I described this band as sounding like a movie soundtrack from a Ninja Tune band. Not a bad description! But this sounds like maybe something that got left off of Music Is Rotted One Note. Still good!

Inquisition, “Darkness Flows Towards Unseen Horizons”

Don’t listen to these assholes! This album is from 2013, which I picked up before a bunch of bad shit came to light about them, but fuck these guys!

Third month in a row without missing a day! 94 day streak going here. NOT BAD AT ALL.

Smut Peddlers, “That Smut”

Well, here’s a ridiculous album from 2001. While obsession with sex has a long and storied history in music, it’s seldom quite so forward as with this record, and the focus on porn in particular is relatively unusual. But it’s not unheard of in hip-hop either, not with Too $hort around, so this isn’t even really breaking new ground. At any rate, outside of the outlandish lyrics, the record itself is a bit of a time capsule of that time in rap.

The Police, “King of Pain”

“King of Pain” is the first song I can recall reading the lyrics sheet for in order to try and figure out what was going on in it (the lyrics sheet didn’t help much). While I’m fully on board with digital delivery for music, and I’m happy to not fill my house with CDs and stuff, I do think that there are certainly small pleasures lost without the physical packaging.

Jesus Jones, “The Devil You Know”

After the enormous success of “Right Here, Right Now” carried Doubt everywhere, Jesus Jones was faced with the prospect of following up a massive hit, a task which has broken many bands. The followup came a couple years later, and Perverse achieved nowhere the same level of success. Partly, those two years hurt. Partly, it was due to the pop music world having moved on to other shiny objects. It certainly didn’t help when one of the biggest bands associated with the scene, the Stone Roses, remained adamantly MIA. But for the last part, it was due to Perverse being not a terribly likable album. The shiny, crowd-pleasing stuff just wasn’t there. It’s very electronics focused, an emphasis on only one half of the Madchester formula, but it winds up feeling imbalanced. It’s really almost trending towards industrial dance, but kind of falls into an uncanny valley.

Robustos, “My Little Suede Shoes”

The bands that got famous in the third wave of ska were those that took the second wave and went further towards punk. No Doubt, the Mighty Mighty Bosstones, folks like Goldfinger, Save Ferris, a bunch of others, they all leaned heavily on rock to make the sound more appealing to a broader audience. But that left out a bunch of other bands who drew more on the first wave and the original sounds, and who didn’t get the attention. Those are the bands that I mostly continue listening to these days. The Robustos are one of those forgotten bands, who played just straight ska, without mixing stuff in, and this album (Introducing…The Robustos) is a good listen.

Gnarls Barkley, “Gone Daddy Gone”

It takes a lot of guts to cover anything from the sui generis Violent Femmes. It’s such a beloved album, and such an iconic set of performances, that you’re very much always going to be compared against perfection. I think the only way to go would be to really re-imagine the songs, but Gnarls Barkley doesn’t do that. So, uh, I’d rather just be listening to the Violet Femmes.