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The Flaming Lips, “Once Beyond Hopelessness”

This is from the Lips’ Christmas On Mars, the soundtrack to their movie project, and it’s very much a soundtrack. As a result, it feels disconnected when you’re just listening to it, and it doesn’t really do a whole lot for me. The Lips can sometimes tend towards the abstract to begin with, and this album goes very far in that direction.

Arrested Development, “People Everyday”

This was the huge Arrested Development hit, featuring a hook borrowed from Sly and the Family Stone and a fun storytelling vibe. This album was huge, driven by this single, and then got completed wiped out by Dr. Dre taking gangsta rap to the top of the charts with The Chronic. At the time, critics lamented that this album represented a path not taken, but I think that really erases the direciton rap had already been heading. So instead, this is just kind of a footnote.

Son Lux, “Change is Everything”

Ryan Lott’s project Son Lux went from a one-man project to recording as a full band on Bones, and the resulting input of two more people has resulted in a more expansive and interesting album to me than the previous ones. There’s a lot of this that kind of gives off Flaming Lips vibes, honestly.

Uzeda, “What I Meant When I Called Your Name”

Noise rock out of Sicily, Uzeda have been active for 28 years and made only four albums and an EP in that time, a blistering pace that even Shellac have managed to best. Well, whatever, those albums are pretty excellent.

Palace Brothers, “I Tried To Stay Healthy For You”

This is from the first Palace Brothers album, when it was not at all clear exactly who Palace Brothers were or who was playing on the album. It turned out to be Will Oldham, of course, who played with the Palace moniker for a while before recording under his own name and then Bonnie “Prince” Billy. While I think he’d do better work later as he settled in, the starkness of the arrangements and the gloom of the lyrics result in a super effective album for setting a mood. (That mood is “bummer”.)

Monobody, “Country Doctor”

Monobody is one of those bands that has a real mismatch of names. For whatever reason, I don’t think this should be a math-rock/post-rock kind of band. “Monobody” seems like it should really be a garage rock outfit, all galloping guitars, distortion, and sneers. No horns should be involved.

Quelle Chris, “Guns”

The title track to his 2019 release, this was one of the best hip-hop albums released that year. The sort of dream-like production really sets off against the serious subject matter of the lyrics. A great album.

Hella, “Women of the 90’s”

I was chatting with my friend the other day about some of the absolutely bonkers drum videos you can watch these days, stuff that just seems totally impossible. And this makes me think I should go watch some videos of Zach Hill doing his thing.

Khemmis, “Torn Asunder”

Just some good ol’ heavy metal going on here. All fuzzed out guitar solos and shit. This should ideally be listened to in a custom van.

Nirvana, “About A Girl”

“About A Girl” might be the song on Bleach that would best fit in on Nevermind, which makes it a little surprising that it didn’t get a single release at the time. It did eventually make it out as a single, but from the Unplugged album.

Modest Mouse, “Fire It Up”

This is one of the standout songs on We Were Dead Before The Ship Even Sank, inasmuch as it’s one of the few songs on that record that my brain will occasionally just call up out of nowhere. That’s the real mark of quality, after all.

Parliament, “Testify”

Up For the Down Stroke is the record where George Clinton brought back the Parliament name and it represented the band going big on party friendly funk tunes. It’s the record where they really hit the big time, and the start of their essential records.

George Harrison, “Any Road”

Released posthumously, Brainwashed is the final record from Harrison, and the only one I’ve actually picked up. I’m not sure I’m really the audience for this, fundamentally. It’s pleasant enough, but not something I’m going to really throw on.

Killdozer, “New Pants and Shirt”

This is the opener of Twelve Point Buck, a pounding exercise in downtempo noise that really is a statement of purpose for the band. It can be a bit much in extended doses, and my copy of this album is actually a double album with Little Baby Buntin’, which is a lot of Killdozer at once.

The Jon Spencer Blues Explosion, “Bellbottoms”

Extra Width was truly mind expanding for me, a record that I played over and over, and one of the sole things that kept me sane during one stretch of a summer job that involved pulling staples from telephone poles 40 hours a week for an entire month. And when I got Orange, slapped it on, and this thing melted my face? I couldn’t believe that they managed to top it. Thank YOU very much, JSBX!

Gaunt, “I Don’t Care”

I praise Gaunt pretty shamelessly on here, because they’re one of those bands (along with yesterday’s Hammerhead) that click perfectly with me. That, combined with the fact that they’re mostly forgotten today, makes me want to really push them on folks. But, I can’t make a better argument for Gaunt than what they’re making here today. This is just pure energy and tunefulness, and every bit of it makes me happy. I hope you love this song, I certainly do.

American Music Club, “Nightwatchman”

Speaking of night watchmen, we watched Night at the Museum with the kids last night, and I was kind of pleasantly surprised that the effects didn’t look too janky. I mean, sure, the whole premise was ridiculous, but I thought there was a good chance that it was going to look so stupid as to totally jar me out of things. But no, held up just fine as a family movie.