Posts

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.

Future of the Left, “the male gaze”

This is a pretty straightforward song from Future of the Left, perhaps to kind of match the subject of the song.

The Delgados, “Accused of Stealing”

There’s another band that this is really reminding me of, and I’m totally unable to put my finger on it. That sensation, of a band or song remaining just outside of your grasp, is one of the most frustrating things for my brain. Super painful, and I don’t know how I can clear this one out.

Leatherface, “Mush”

Well, we’re back at Leatherface, and I once again confront my opinion that this basically sounds just like late 80s/early 90s southern California punk, except for the vocals. And I’m not wild about the vocals. We need to get Dave Smalley involved here!

Jesus Jones, “Right Here, Right Now”

I think it’s easy to be cynical about overnight successes and huge pop hits, especially when your taste sort of runs towards the less popular end of the pool. If you’re not really that much of a fan of popular genres, the simplest take is to just assume that popular songs are all pandering garbage, made by bloodless producers milking the latest fad for all its worth. And sure, there’s plenty of pre-fab trash that gets popular, but that cynical take is really a dead end. Who cares? Where does that cynicism lead you? If you don’t like pop music, you can just ignore it, but that’s true of any genre. The popularity or otherwise of a song does nothing to change its artistic merits, and the only question worth evaluating is what a song does for you or those around you.

Five months in a row of a daily updates every single day. I can’t keep this up forever, but I’m hoping the consistency is nice for folks out there. (looks at analytics) Well, a few of you, anyway.

Gauche, “Pay Day”

Gauche is a supergroup featuring members of Priests and Downtown Boys, playing new wave music in what sounds like nothing so much as an updated B-52s. I’m not really a huge new wave guy, but it’s hard not to have fun listening to rhythms this infectious.