The Cows

DZ Deathrays, “Reflective Skull”

I’ve said it before, but it’s worth repeating - make some friends in Australia and hit ’em up for music recommendations. You can’t miss! This is from a different friend than the last time I mentioned this particular life hack, that’s how I know that it just works generally.

Circus Lupus, “Cyclone Billy”

Delightful post-hardcore here from the first Circus Lupus record. They would only get better on their second album, but both are excellent if you’re into the sound.

No Age, “Life Prowler”

As always, Five Songs is a pro-duo place, which is something we feel compelled to mention every single time one comes up. It’s just one of our loveable quirks, like not knowing shit about jazz or using the royal we, but only inconsistently! Shoddy, rushed writing, or deliberate, stylistic choice? Nobody knows!

Solids, “Cold Hands”

Another duo! Solids only made this one album, 2013’s Blame Confusion, but it’s a ripper. If you like what you hear, you’re in for a treat!

Bought tickets to see Shellac today. Nice! Today’s music.

The Cows, “Camouflage Monkey”

More old stuff from the Cows. This was originally on Daddy Has A Tail, when the Cows were still very much still figuring out what the hell they were doing. I’m not suggesting they ever figured it out, exactly, but they became more confident in their nonsense.

Sorcier des Glaces, “The Frozen Sword of Midnight”

I hope that, one day, there will be some rapper or something who makes a song called something like “The Frozen Sword of Midnight” (it will probably be one associated with the Wu-Tang Clan). In the meantime, you’ll have to rely on metal bands to get your “somehow this sounds like a doodle on a Trapper Keeper” vibe. Does this song start with weather noises? You know it! Are there candelabras on the album cover? Fuck and yes there are! Is the track longer than nine minutes? GODDAMN RIGHT IT IS!

Three months in the books, three months of Five Songs every day! And we’re still rollin’!

The Clash, “Remote Control”

Have we talked about the Clash’s debut album yet? What separated the Clash from so much of the rest of the new punk scene is that the Clash brought more than just energy and fury to their music. And while early punk should be lauded for how egalitarian it was, and for its emphasis on just getting out there and doing it, the Clash really demonstrated what happened when you took that DIY ethos and married it to some tremendous songs.

A short little year-end roundup today, from Jamie Zawinski, who I’ve maybe been reading stuff from longer than any other person online, as I recall first encountering reading something from him back in 1995. I’m going to see about putting up some kind of year-end wrapup here myself towards the end of the month, I’d like some time to spend time with all the new stuff I’ve picked up.

Here’s today’s tunes. It’s a good set today!

Well, I hope people find the brief essay down below interesting. Probably not. You can listen to something while you read, though.

Duke Ellington, “Braggin’ In Brass”

A monolith appears on primitive Earth. Agitated apes cluster around it, screeching, trying to ascertain its meaning, its message. Curiosity overcoming their fear, they eventually touch the monolith as the music swells. The music is “Yakety Sax”. Flickering neon words appear on the monolith: “JOSH IS NOT QUALIFIED TO TALK ABOUT JAZZ”.

Today’s tunes.

The Nation of Ulysses, “Maniac Dragstrip”

There’s a search for authenticity in rock music that goes back decades, where bands are judged to be real or poseurs based on a variety of markers, many of which make no sense at all. And in this view of music, artifice is usually heavily discouraged. A band that is self-consciously trying to be different, to make art as opposed to just blasting raw emotion is seen as inauthentic. I get it, the drive for the visceral, particularly in rock. But clinging to this structure leaves out so much interesting experimentation, and ultimately can be so limiting, that you just want to sometimes embrace artiness.