The Beastie Boys

Pyramids, “The Echo of Something Lovely”

Experimental post-rock band Pyramids released their first record on Hydra Head Records, which is how I ended up being exposed to them. They’re honestly pretty all over the map on this record, which kind of lurches around between various styles. I’ve only got this and their last record, 2015’s A Northern Meadow, and that’s similarly a restless record. I don’t really love it, but I think it’s at least interesting, so that’s a good thing.

Floor, “Downed Star”

There’s a longing feel to a lot of Floor, an almost wistful tint to the vocal style. When it’s married to the thrumming music, it’s a fun combination.

Beastie Boys, “5-Piece Chicken Dinner”

I love Paul’s Boutique, but this is just a goof out-of-context. OK, it’s a goof in-context also, but it makes sense with the album sequence.

Pyrrhon, “Goat Mockery Ritual”

Oh hell yeah. One of my favorite metal bands, Pyrrhon takes death metal and adds so much dissonance and spastic experimentation that it can sometimes seem overwhelming. I think at some point, it’s gone so far that my expectations are just shot. I don’t know what’s coming next, so I can just relax and revel in the twitchy glory of this whole thing. It’s hard to pick a favorite album from them, you can’t go wrong with any of the three most recent LPs.

Happy Thanksgiving to all my American reader/listeners! I don’t think I have any non-American reader/listeners! I barely have any American ones. Hmm, let’s do “dinner” for a special word. For those of you who haven’t seen me explain these before, when I do a special, I search for a word or phrase in the library and pick the random songs from that.

The Evens, “Dinner With The President”

The Evens (Amy Farina and Ian MacKaye) put out their second album, Get Evens, pretty quickly after the first one. And I think it’s a step forward, they seemed to be more comfortable with how to write songs to suit such a stripped down lineup. Is folk-punk a thing? I guess it is.

The Beastie Boys, “Hold It Now, Hit It”

I’ve mentioned before here the ability of certain songs to transport me to very specific places and times. The Proustian recollection for this song is rolling through a lovely Spokane fall evening, crammed in the back seat of a shitty Toyota, on the way to a party at a friend of a friend’s house, a high school debate connection. We had this cranked up as far as it would go, plastic interior panels rattling along with the bass, as we headed to this party hopeful of making a connection. Being a hopeless debate dork, I mostly just held up a wall and tried to figure out how to make conversation, ultimately failing, but nevertheless enjoying the novel experience of a house party that was recognizable as an actual party. As opposed the usual gathering for me, which was mostly nerds playing cards.

Beastie Boys, “The Sounds of Science”

My freshman year roommate couldn’t stand this track, and would insist on skipping it when we listened to this record. Which was often, it was an album we could agree on. I thought I lost that copy of Paul’s Boutique when it was in his car when the car got stolen. But! They found it, and he got the car back! The song that came on when he started it up? “Car Thief”.

The Beastie Boys, “Pass The Mic”

Probably the most Beastie Boys song on Check Your Head, this is the kind of thing that anybody who parodies the band is kind of gesturing towards. Given that it was deliberately constructed to be kind of an update of the sound from their first album, it does make sense.

Screeching Weasel, “Falling Apart”

Have I expressed the opinion that I think Anthem For A New Tomorrow is the best Screeching Weasel record? They had a couple albums to refine the pop-punk/Ramones-knockoff sound they were going for, and there are moments that almost sound sincere on this album that work pretty well. Past this point, they kind of got snottier and snottier and it wasn’t pleasant, and before this, the sloppiness can sometimes get in the way.

Bullfrog, “Mark After Dark”

We’ve had Bullfrog here before, but as a reminder, this is one of Kid Koala’s many projects. Most of their album is pretty straight ahead funk, but they mix in some other stuff, such as the tune here which closes the album.

The Meters, “Running Fast”

Hell yeah, Meters! Fire On the Bayou is the last essential Meters record, as it was followed by a poor disco record and an OK funk record. While I tend to prefer their earlier, non-vocal stuff, this is still a great record.

Earl Van Dyke, “Soul Stomp”

We’re in 1964 here, with a well-named song, as this really is quite a stomp. The organ is just fantastic.

The Beastie Boys, “Fight For Your Right”

I think that more than half of the times in my life that I’ve wound up in some stranger’s car, aimlessly wandering towards or away from a party, either this album or Paul’s Boutique was playing. It’s basically the soundtrack to unfocused teenage ennui to me.

Music!

Less Than Jake, “Automatic”

Forget the horns, forget the rest of the surrounding scene, this is just a hell of a fine pop-punk song. Chris DeMakes turns in a great vocal performance here, and there’s nothing I’d change about this tune.

Queen, “Soul Brother”

Geez, speaking of vocal performances. This is one of the bonus tracks on the deluxe re-issue of Hot Space, and it’s a fun addition. By and large, bonus tracks don’t add a ton, but frankly, that album was kind of a mess in the first place, so having a fun vamp like this added is an improvement.

Good set today.

Modest Mouse, “Autumn Beds”

From a later EP from the band, No One’s First, And You’re Next, these are songs that were largely left off of Good News For People Who Love Bad News and We Were Dead Before The Ship Even Sank. If you’re looking for more songs that would have fit into those albums, this EP is worth looking into.

Sleater-Kinney, “Oh!”

Another good song from Sleater-Kinney which I will undoubtedly totally forget the tune for after the song has finished.