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They Might Be Giants, “Experimental Film”

The Spine is a very elaborate album from TMBG. The production is really lush and layered, and it pays off in songs like this one. As the years go on, I actually end up appreciating this album more and more.

Idylls, “Fagged Out On The Beach”

Just a little transitional track here, not a ton to say about it.

Crystalized Movements, “The Second a Siren”

The production on This Wideness Comes is like an extra member of the band. There’s something about the way the fuzz and compression interacts with the band that gives it a distinctive feel. I think it’s the separation of the vocals from the rest of the band that is part of it, it almost sounds like two different recordings.

Lambchop, “The New Cobweb Summer”

Aw, I just want to enjoy this. I’m not going to say anything!

The Jon Spencer Blues Explosion, “She Said”

Plastic Fang is an album that feels a little bit unfocused to me. They’re experimenting with tweaks to their formula in a few different ways on the album, and I’m not sure it all totally works out. But that said, Spencer still writes some bangers on it, and this is one of the highlights of the record. Just a roaring groove in the mold of Orange.

The Decemberists, “The Perfect Crime #2”

My favorite Decemberists album really rotates around quite a bit, but it’s usually between this one, Her Majesty The Decemberists, and Picaresque. I suspect that if I could listen to all three with fresh ears with my current musical preferences, that I might land on this one permanently, as the most elaborate of the three.

Black Milk, “Deion’s House”

Black Milk is known for being as good on the mic as behind the boards, but this song actually has an outside producer on it. Still an excellent track, and this album across the board is outstanding.

The Apples in Stereo, “About Your Fame”

I do enjoy poking fun at the Apples in Stereo around here, but this is a sweet tune. So, yeah, some of their stuff can be unambitious, but when the pop is dialed in, it’s pretty excellent.

Nine Inch Nails, “Corona Radiata”

2005 through 2008 has been Trent Reznor’s most productive period, with three full albums and an instrumental one coming out in less time than it usually takes him to make one album. The Slip is the final record of that sequence before he went back into hibernation, and it’s generally the most straightforward of the four. Uh, this track notwithstanding. While I think Year Zero is the best of that bunch, there’s a catharsis with this record that is satisfying. Again, this dry hump of a song aside.

Vince Guaraldi, “Christmas Time Is Here (Vocal)”

We’re not the most distant from Christmas on the calendar, but I think early spring is spiritually as far as you can get. So, nice timing, Plexasaurus!

Young Hunter, “After Death”

Desert-inspired heavy rock, this is from their self-released and self-titled 2016 release, which is full of psychedelic semi-doom. Overall, I kind of wish they were just purely instrumental, as that’s the most interesting part of this whole thing.

Anti-Flag, “A New Kind of Army”

Love that anthemic punk rock sound. This is a classic winning formula here, and it feels wrong to be listening to it on an earbud instead of through loud speakers.

matt pond PA, “Bring On The Ending”

Been a minute since we’ve had matt pond PA around here. This is from 2004’s Emblems, a glossy, shiny pop album full of gentle but catchy songs. There’s a real Shins feel to this, which is definitely a compliment. Anyway, they aren’t exactly breaking new ground here, but it’s a pleasant listen.

The Dramatics, “In the Rain”

Oh baby. Listen to that reverb! Those strings and horns! I don’t think I’m cool enough to listen to something like this, frankly. The Suede Denim Secret Police are going to haul me off.

Deerhoof, “Department of Corrections”

There’s something really uplifting about the alchemy of Deerhoof. The contrast of the spastic guitar lines, powerful drums, and sprightly vocals is genuinely irresistable. It’s just really fun stuff, and the fact that Deerhoof is still out there cranking out tunes like this is really reassuring. We’re almost twenty years out from Reveille, the first great Deerhoof record, and they’re just chugging along.

Van Halen, “Jump”

Geez, I can remember being really intimidated by Van Halen back when this album came out. In my defense, I was 8 when this record released. But it’s pretty funny to listen to this today and think about that initial reaction. Of course, even back then, this wasn’t the most intimidating song from them.

Grotus, “Good Evening”

Experimental goofballs out of San Francisco, Grotus (sorry, not doing all the rock dots!) featured a lineup with two bassists, two drummers, and a guy on samples. The lyrics were a goof, the songs were out there, and the band just kind of projected this kind of ridiculous aura. In a lot of ways, they were kind of Cop Shoot Cop’s evil twin. Wait, other way around. They were the good twin.

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!