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Flamingosis, “Those Eyes”

Discogs describes Flamingosis as “chillwave” and “disco”, and, sure, whatever. There’s some synth pop here, some electro-funk, some straight up pop - the sort of thing that sounds nostalgic without actually really evoking anything specific. In this song, there are actually some Soul II Soul vibes going on here. Which, in turn, brings me to two memories of Soul II Soul. The first is that they were weirdly one of the contemporary (at the time) bands that my dad and I both really liked. He bought his own copy of a couple of their albums, we used to listen to them in the car, it was great.

Rocket From The Crypt, “I’m Not Invisible”

As a result of Five Songs, I’ve actually been on a Rocket From The Crypt kick lately. It’s been great! I don’t ever see them get mentioned any more, but they kicked ass across seven albums (not even counting the excellent compilations!) and people should listen to them. This is how their final studio album kicked off, and it smokes.

Autoclave, “I’ll Take You Down”

Autoclave was not around long, putting out a couple EPs on Discord before disappearing. But the members wouldn’t disappear - Slant 6 arose from their ashes, but more significantly, this was Mary Timony’s (Helium, Wild Flag, Ex Hex) first band. Imagine doing this in high school! Incredible.

The Jam, “Private Hell”

The middle album of the Jam’s peak trio, Setting Sons, is probably the slickest and most commercial sounding of the three. While the songs are of course fantastic, the overall approach makes it my least favorite of those three records. But just to be clear, it’s still a fantastic record, I just liste to the other two albums a little more often.

Powerrun, “In A Dream”

Powerrun is a *wave band, maybe a synthwave band? I can keep decent track of metal microgenres, but I get out of my depth pretty fast with electronic stuff, even though I listen to a fair bit of it. ANyway, this is just a little trifle, but it’s a fun record.

The Toasters, “East Side Beat”

Your first instinct might be to think that Rob “Bucket” Hingley’s accent here is a terrible put-on. But no, Rob was born in England, so he earned this. At any rate, this is from the first Toasters album, and it captures a band still developing their sound.

Foetus, “Mandelay”

One of the centerpieces of Flow, an album where J.G. Thirlwell ramped up the cinematic nature of his music to another level, while making sure that the perversion of that sound was also present. The noise, the disturbing sounds, the strange interludes - it all combines to a disorienting song that really takes you on a journey. To somewhere. This is one of his very best albums.

Squarepusher, “Come On My Selector”

Early Squarepusher is very much drum ’n’ bass, albeit pretty frantic even for a genre known for punishing tempos. Squarepusher is still primarily cutting up the Amen break for the drums, for instance. You can hear his bass playing front and center here, of course, and it’s great despite being firmly in a genre. This EP, Big Loada, would kind of mark the last of the pure drum ’n’ bass, as the next album found him heading in a much more marked fusion direciton.

New Bomb Turks, “Double Marlon”

Garage punks out of Columbus, OH, the New Bomb Turks exploded (heh!) onto the scene with their brand of aggressive rock, and they kept it rockin’ for a while. However, they did eventually fell off, and this EP (Beruhren Meiner Affe, “Touching My Monkey”) is kind of where the dividing line is. It’s a perfectly good five songs of their Stooges-esque stuff, but after this, it seemed like the were just kind of tired.

The Jon Spencer Blues Explosion, “Mars, Arizona”

Damage was the last album before a hiatus, and so I kind of group it with the other albums from their initial sequence, and think of the post-hiatus records as a different thing. Two of these albums kind of stand out as different from the others, by virtue of having outside producers working extensively with the band and adding some new sounds into the mix. There have been electronics around since the days of the theremin, but on both Acme and this record, there is more variety to the sound. It’s all still unmistakably the Blues Explosion, of course, with the rock and blues sounds front-and-center. But the additional texture gives the two records a new sounds. Of the two, I slightly prefer Acme, but they’re both a bunch of fun.

Two Fingers, “Moth Rhythm”

Most of the tracks on the Amon Tobin side project feature Sway rapping on them, but this is one of the two songs that does not. As a result, this just sounds like an Amon Tobin song. Contemplative for him, sure, but still a Tobin song. Not that that is a bad thing.

British Sea Power, “Be Gone”

British Sea Power play pretty nuts-and-bolts indie rock. This is from their second album, which doesn’t show a ton of evolution from the first record. It’s good, but I’m not sure it’s super memorable.

The Police, “King Of Pain”

By the time Synchronicity came out, the Police were really out of gas. There are some fine pop songs on it, but lots of filler, and even the good songs are kind of tame compared to some of their previous songs. I really liked this album a lot back when it came out, but find myself listening to it only very rarely now.

Budos Band, “Old Engine Oil”

There are about three seconds at the beginning of this song when you think it’s going to be a classic rock vamp. But then the horns kick in, and it’s a regular Budos vamp. But with some classic rock touches here and there in the guitar, which is a lot of fun. It kicks off another classic record from the Budos Band, an album which dials back the psych stuff from Burnt Offering just a little bit. It ends up being right in the middle for their albums, behind Burnt Offering and I, but ahead of III and II. I haven’t placed Long in the Tooth yet, but I think it winds up probably right around III somewhere.

Homeboy Sandman, “Name”

I first encountered Homebody Sandman through his (excellent) collaboration with Edan. I liked it enough to pick up his next record, Dusty, which I also enjoy. Lots of jazzy loops providing a great backdrop for his flows, which are a good time.

David Bowie, “Sound and Vision”

I’m not a Bowie scholar (I find myself saying a lot what kind of scholar I am not around here!). I have tried to stick to just some of his essential albums. In practice, for Bowie, that means I have five albums, Low being one of them. I’m not sure what else to say about it, other than it’s one of his essential albums.