The (not really) annual OM BlogMix or: How a good of a mix can I make in 5 hours?

While drinking my coffee this morning, I realized that today was the fourth anniversary of my very first Octopus Motor post. There once was a time when I would post a special annual OM anniversary mix every year to mark the occasion (see, for real). Seeing as I actually remembered in time this year, I thought I'd give it another go. Because I decided this this morning, I couldn't really get started until I got home from work and it needed to be posted by midnight in order to be dated correctly. So how good of a mix can I crank out in roughly 5 hours? For the answer, join me, won't you, in this self-congratulatory, pointless (but hopefully fun) bit of wankery.

Scissor – Liars (Sisterworld, 2010)

I've written about Liars plenty already (they were even on the first anniversary OM BlogMix), so I won't belabor the point. I love Liars. Even though Liars and Sisterworld were both somewhat underwhelming compared to their first three albums, "Scissor" is a fantastic song that does a pretty admirable job of encapsulating everything there is to love about Liars. It's gentle, brutal, sparse, heavy, and, above all, weird and unpredictable. All in the span of about 3 ½ minutes.

Everyone Choose Sides – The Wrens (Meadowlands, 2003)

I remember buying this album, listening to it and thinking, "eh, that was OK, I guess…" I also remember putting the album on months later and immediately replaying it as soon as it ended. I guess it took a while to grow on me, but Meadowlands is easily one of my favorite albums front-to-back. Stylistically it might not venture too far from typical indie rock, but what the Wrens do, they do just so goddamned well.

Common People – Pulp (Different Class, 1995)

I have to admit, Pulp has always been one of those bands that I heard about but never actually heard. Up until recently when I got my hands on a copy of Different Class, they were always just one of those bands that I knew was a big deal without ever actually hearing them or knowing anything about them. I can't offer my verdict on whether or not Pulp are as worthwhile as I've been lead to believe, but Different Class is solid, and "Common People" is certainly one of the highlights.

Rid of Me – PJ Harvey (Rid of Me, 1993)

PJ Harvey is a woman who I find to be both incredibly sexy and absolutely terrifying. Rid of Me is an album filled with brutalizing songs filled with bitterness, anger, resentment, and heartbreak, all propelled by Steve Albini's razor sharp, stark production. The entire album drips sex, but not the sexy kind. The kind that will leave everyone bruised, bloodied, and filled with regrets. (Plus, it features the greatest song ever about a woman bragging about how big her dick is.)

In the Shadow of the Horns – Darkthrone (A Blaze in the Northern Sky, 1991)

As one of the preeminent members of the Norwegian Black Metal scene, Darkthrone has earned their place among bands like Emperor, Mayhem, and Enslaved in the pantheon of extreme metal. Darkthrone's music has always been more straightforward than their peers, but never any less unrelenting. They've definitely earned their legendary status with absolute classics like A Blaze in the Northern Sky.

Lux Aeterna – Clint Mansell (Requiem for a Dream OST, 2000)

Clint Mansell seems to have left pop music behind for good to focus solely on film scores, which is without a doubt a good thing. There's a reason that this song keeps getting reappropriated for excessively dramatic trailers over and over again. As the center piece of the score for the devastating (and excessively melodramatic) Requiem for a Dream, "Lux Aeterna" is a simply a stirring, powerful (and yes, dramatic) piece of music.

Jah War – The Bug, feat. Flowdan (London Zoo, 2008)

Confession: I don't like reggae music. At all. But I love the reggae-infused house music on The Bug's London Zoo. I love its grit, its bleakness, its dark paranoia. It's a suffocating and exhilarating album, and no songs fill me with the excitement and unease that permeate the entire thing quite like "Jah War." This was definitely the song that served as the gateway for me to appreciate the entire thing.

Secrets of Sumerian Sphynxology – Melechesh (Sphynx, 2004)

Originally hailing from Israel, Melechesh is the world's only (as far as I know) self-described "Mesopotamian metal" band. Over the past decade or so, Melechesh have proven themselves to be one of the most technically proficient and interesting metal bands around today. There's plenty to say about them, but I'll just leave it at the fact that they're phenomenal. ("Secrets of Sumerian Sphynxology" may be a great song, but it's certainly not my favorite. Just my favorite song title.)

The Mercy Seat – Nick Cave and the Bad Seeds (Tender Prey, 1988)

Nick Cave (and the Bad Seeds) excels in his specialized heady mix of gothic, organ-grinding, post-punk, Americana, murder ballads with "The Mercy Seat." While his music is often infused with a drier than dirt wry wit, "The Mercy Seat" is unrelentingly bleak, and is one of Cave's best. A couple years ago, Amazon had a massive sale on Nick Cave mp3s. I have no idea why they did that, but that was an awesome day.

A Horse Called Golgotha – Baroness (Blue Record, 2009)

Apparently there's a kick-ass metal scene in the steamy, Spanish moss festooned town of Savannah, GA that I've only just discovered. Baroness and Black Tusk both play with an urgent driving force, combined with a certain sludgy, swampy, Southern-ness. Black Tusk may be more straight forward metal, with Baroness having a bit of a prog-y psychedelic bent to a lot of their music, but both bands hold their own in representing a (hopefully) growing Southern metal scene.

Squeeze Me Macaroni – Mr. Bungle (Mr. Bungle, 1991)

Just because I have to have at least one Mike Patton song in every mix. This was just about the least weird Mr. Bungle song I could find.

Odessa – Caribou (Swim, 2010)

I listened to this song exactly once before I put it in this mix. Yup, that's just how good it is.

B.O.B. – Outkast (Stankonia, 2000)

I don't really have much to say about "B.O.B." I'm guessing everyone has heard it before, and I'm guessing everyone loves it. As a matter of fact, I'm also guessing everyone loves Outkast just as a general rule.

Atlas – Battles (Mirrored, 2007)

An improbable supergroup of sorts featuring members of Helmet, Tomahawk, Don Caballero, and Storm & Stress, Battles is a mindblowingly good experimental instrumental band. Mirrored came my way in a massive music swap with a friend of mine over a year ago. It has not ceased to be in my go-to rotation of music ever since. (Life tip: Battles makes for excellent music for over-caffeinated all night work marathons.)

Center of the Universe – Built to Spill (Keep it like a Secret, 1999)

I remember being at a party a few years ago, talking to a guy from Boise. I had just found out that a band I liked was from Boise and couldn't remember who it was. The guy kept insisting that it was Built to Spill, to which I repeatedly responded, "no, it wasn't Built to Spill…who was it?" Turns out he was totally right, it was Built to Spill, and I wasted like 20 minutes of that guy's life debating him about it. There's really no point to this story. Built to Spill is pretty great, and Keep it like a Secret is a great album.

We Belong – Pat Benatar (Tropico, 1984)

I like Pat Benatar. I like this song. And I wanted to end on an uplifting note. You're welcome.

2nd Annual Progress Report

Well, another year has passed, and the Octopus Motor is still cooking. Who would have thought?

It's been a crazy year. I learned how to add pictures (oddly enough, I figured out how to add videos before I learned how to add pictures). I went through that whole Jandek phase (and I am still planning on continuing the 10-part Jandek review series, FYI). There were fruitful times (December and January were pretty good), and less fruitful times (last summer was pretty slow). I added that fancy new banner. But seriously, who cares? It's the Octopus Motor's 2^nd anniversary, so that means another mix!

No videos this time around, we'll just stick with the embedded playlist this year. Enjoy the Octopus Motor's Cotton Anniversary Mix!

LT Tour Theme – Le Tigre (Feminist Sweepstakes, 2001)

Born out of the classic riot grrrl band Bikini Kill, Kathleen Hanna's Le Tigre continue Bikini Kill's feminist infused rock. Decidedly more fun and dance oriented than its more incendiary punk predecessor, Le Tigre manages to preach feminism without being preachy. Silly and fun, but definitely never stupid, Le Tigre's music is always smart and always enjoyable. "LT Tour Theme" is the first song off their second album, Feminist Sweepstakes, and seemed like the perfect way to kick off the Cotton Anniversary Mix.

Take the Skinheads Bowling – Camper Van Beethoven (Telephone Free Landslide Victory, 1985)

I'm relatively new to Camper Van Beethoven, but from what I've heard, I really like it. This song is an amazing combination of punk and a sunny Sunday afternoon spent on the back porch with friends. And beers. Beers and friends. And hopefully no Skinheads. Cuz that'd be awkward.

I Against I – Bad Brains (I Against I, 1986)

This song is well over 20 years old, but just like the album is comes from, still sounds exciting and fresh. Throwing a variety of styles and influences into one big boiling hardcore pot, Bad Brains' music clips along at a pace that sounds like it's constantly on the verge of flying off the rails. It's no wonder Bad Brains are as revered as they are, their music has proven to be both influential and totally singular. No one can match their reggae and dub inflected hardcore punk.

Dr. Rock – Ween (The Pod, 1991)

Ween has to be one of my all time favorite bands (and concerts). There are few bands that are as talented, strange, unpredictable, and just plain awesome as Ween. "Dr. Rock" is off their second album, The Pod, which is the album that the duo famously claimed they wrote and recorded while under the influence of a severe Scotchgard huffing habit and a vicious case of mononucleosis. While I'm pretty sure the Scotchgard comment was a joke (though, I think the mononucleosis thing is real), The Pod is hands down the strangest and densest thing these guys have ever done. It may be uninviting at first, but I recommend spending a little time in Ween's Scotchgard fueled world. You won't regret it.

Chumbawa – The Detroit Cobras (Mink Rabbit or Rat, 1998)

One of the things I definitely regret never doing before leaving Michigan for Texas is seeing the Detroit Cobras in concert. All of their songs are garage rock covers of old obscure R&B singles, giving you music that is skuzzy, danceable, sexy, and fun. I have no doubt that they would put on an awesome show, and that I really missed out by not seeing them before I moved. Of course, they do in fact go on tour, so I guess I've still got a shot.

Little Babies – Sleater-Kinney (Dig Me Out, 1997)

Appropriately or not, Sleater-Kinney gets lumped in with the whole riot grrrl scene. While I have nothing against riot grrrl bands (I actually like quite a few of them), in the case of Sleater-Kinney, I can't help but feel like it's not entirely accurate. They not only can play the incendiary punk that characterized the scene, but they can bust out metal, hard rock, pop, and just about any other kind of music you can make with two guitars, a bass, and a drum set. It's a real shame they split a couple years back. They were definitely one of the best female rock bands out there.

Sealed with a Kiss – Deerhoof (Apple O', 2003)

For a while, about the time Apple O' was released, it seemed like Deerhoof were on top of the indie world. They basically play a vaguely experimental kind of fractured pop music, a sort of abrasive twee pop, complete with sickly sweet sounding tiny Asian girl vocalist. Ultimately, Deerhoof is pretty hit or miss for me, sometimes their weirdo twee noise pop falls completely flat for me, leaving me annoyed and irritated. But then again, sometimes they hit on that perfect balance of noise, sweetness, and pop sensibility. And that's exactly the kind of song "Sealed with a Kiss" is: perfectly, enjoyably sweet.

Sing Swan Song – CAN (Ege Bamyasi, 1972)

A lot of the songs on CAN's Ege Bamyasi slide by in a sort of smooth, lazy, mid-tempo breeze. It's extremely easy to sit back and let their jazz-influenced prog rock (or "Krautorck" if you're feeling fancy) glide by in the background, missing most of what is going on in a given song. CAN's music is almost deceptively complicated; one semi-attentive listen will reveal how much is actually going on in their music. In that way, Ege Bamyasi is almost like two albums. One you can play in the background or one that can grab your full attention. However you listen to it, CAN's Ege Bamyasi is an incredible album.

Space – The Beta Band (Heroes to Zeros, 2004)

The Beta Band are almost like a pop version of CAN, crafting music that sounds both complicated and easy. Blending acoustic sounds, electronic flourishes, and indie rock guitars into rollicking yet smooth pop music, the Beta Band manage to walk the line between being an extremely interesting and extremely easy listening experience. All of their music is worth listening to, and much like Sleater-Kinney, it's a real shame they split after releasing Heroes to Zeros (oddly, the only album the band ever expressed satisfaction with).

Snakedriver – The Jesus and Mary Chain (The Speed of Sound, 1993)

This song is pretty emblematic of the Jesus and Mary Chain's music. Distorted guitars. Detached and droning vocals. Slinky, aloof, retro cool. All wrapped around a song of bittersweet resignation. These guys are fucking cool. Cool as hell.

Black Rider #1 – Frank Black & the Catholics (Black Letter Days, 2002)

While I've never liked Frank Black's post-Pixies solo stuff too much, this song just kills. The mix of 50s and 60s rock'n'roll, honky tonk piano, and oddly inviting violent lyrics ("Come on in/it ain't no sin/take off your skin/and dance around in your bones") makes for an undeniably catchy song. I really have to be in the right mood to listen to Frank Black's other stuff, but I can always listen to this song. And I always have a gay old time.

4/10/05 - Sunday – Fantômas (Suspended Animation, 2005)

When I included Faith No More's "Surprise, You're Dead!" in last year's mix, I asked, "Is there anything that this guy [Mike Patton] hasn't done or can't do?" Fantômas is just one of many post-Faith No More projects Patton has going, and they all are infused with his unbridled experimentalism and just plain weirdness. I'm always willing to check something out as soon as I know he's involved. Certainly not for everyone, he's definitely someone I try to keep an eye on (easier said than done, though, with his seemingly hundreds of side and solo projects).

L Dopa – Big Black (Songs About Fucking, 1987)

I'd be hard pressed to think of someone who works harder at being as offensive, ugly, uninviting, and unpleasant as Steve Albini (his band after Big Black was called "Rapeman" after all). But the man does it so well! The sonic assault of Big Black, mixed with Albini's drier than dust, biting humor creates truly ugly and brutalizing music. Just about everything about Albini and his music is uncompromising, and it is all the better for it.

Politicians In My Eyes – Death (For the Whole World to See, 2009)

Even though their music was only finally released this year, Death actually came out of Detroit in the early 1970s. Unfortunately, the difficulties of promoting a trio of black brothers playing experimental, R&B influenced, hard rock, proto-punk in the early 70s proved too much. After recording an album and signing to Columbia, the Hackney brothers clashed with their label over the band name, eventually abandoning the project and moving to New England. An obvious precursor to punk bands like Bad Brains, their demo tapes have finally been released as For the Whole World to See. Read more in this excellent NYTimes article about them.

Crackity Jones –Pixies (Doolittle, 1989)

Short, fast, and more than a little spastic, "Crackity Jones" is a tiny burst of perfect weirdo college rock. Apparently, the song is about a crazy roommate Black Francis had while living in Puerto Rico. But listening to Francis convulsively yelp and howl his way through a very fast, and very brilliant, minute and a half, one wonders how he could have possibly been the "normal" roommate. Just how crazy was Jose Jones' story?

Everything is Fair – A Tribe Called Quest (The Low End Theory, 1991)

I'm not sure what I could say about Tribe. They are amazing. There is no bad time to listen to Tribe. They're like the little black dress of hip hop, they're good for any occasion.

Stereo – Pavement (Brighten the Corners, 1997)

I've always viewed Pavement as the quintessential 90s slacker band. I'm not sure if that view is entirely accurate, but it's hard to not see the slacker brilliance in a song like "Stereo." With its jangly guitars, meandering lyrics, and all around playfulness, "Stereo" sounds almost effortlessly clever, amusing, and downright silly. Which is exactly what I think of when I think of 90s slackers.

The Lung – Dinosaur Jr. (You're Living All Over Me, 1987)

The best way I know how to describe Dinosaur Jr.'s music is by saying it has a sort of lazy urgency. A laidback propulsiveness, if you will. I remember seeing Dinosaur Jr. on their reunion tour years ago. They did a few small shows to start the tour, and I was lucky enough to catch them at Ann Arbor's Blind Pig. They were loud, fast, and raucous. But they also seemed like they just woke up and didn't really know what was going on. The concert started late because the drummer, Murph, was downstairs at the 8Ball drinking and lost track of time. Bassist Lou Barlow broke a string, but apparently didn't have any back up basses, so he just sang the bass lines while a roadie replaced the strings. Lead singer and guitarist J Mascis looked like an older version of Garth Algar (seriously, compare this to this), and like he was on the verge of falling asleep while onstage. All this might suggest the show was bad, but it wasn't. It was easily one of the best shows I've ever seen. Loud, fast, totally kickass, and half asleep, that's just how these guys roll.

If I'm a Man – Burning Brides (Fall of Plastic Empire, 2001)

Undeniably a stupid song, there isn't much to say about "If I'm a Man." Everything by Burning Brides has the same balls out rock'n'roll aesthetic. It's noisy, kind of sloppy, definitely stupid, and completely fun. Oh, and they went to Juilliard. Go figure...

Chuggin' – Z-Rock Hawaii (Z-Rock Hawaii, 1996)

Z-Rock Hawaii is a one-off collaboration between Ween and Japanese noise-freaksters the Boredoms. And it is as weird, goofy, and amazing as that collaboration sounds. "Chuggin'" is easily one of the most straightforward and normal songs on the album. "Tuchus," for example, consists of undulating sounds, Japanese chanting, and one of the Ween bros repeating lines like "Tuchus/You got a nice tuchus" for a few minutes. This album is one of the weirdest and best things I've ever heard.

Beat me Daddy, Eight to the Bar – Commander Cody and His Lost Planet Airmen (Lost in the Ozone, 1971)

Oddly enough, this hard rocking, honky tonking, bar band hailed from Ann Arbor, MI. When you've got a band from a place like Ann Arbor playing music like Texas honky tonk, it usually doesn't end very well. They can come across as glib, like they're making fun of the music. Or they can seem painfully inauthentic (sort of like when a bunch of white people form a funk band). But Commander Cody and His Lost Planet Airmen have an obvious love for the music they play, and they definitely have the musical chops to back it up. Lost in the Ozone is an album I sort of discovered by accident, but I'm glad I did. It's nonstop foot stomping brilliance.

Our Paths Will Cross Again – William Elliott Whitmore (Hymns for the Hopeless, 2003)

William Elliott Whitmore's music is characterized by sparse instrumentation (generally just an acoustic guitar or banjo and maybe some percussion), old Southern blues-esque lyrics (e.g. death, sin, regret), and most importantly that gravelly voice that sounds so old beyond its years. Whitmore's music seems both of an older time and yet timeless. "Our Paths Will Cross Again" is probably most hopeful song I've heard by Whitmore, and as great of a song as it is, his music has so much more to offer ("Digging my Grave" off of Ashes to Dust is probably my favorite). But I couldn't leave on too dour of a note...

Oh, happy day!

Believe it or not, the Octopus Motor has now been cluttering up the Internet for a full year! For a number of reasons, I decided to avoid SXSW like the plague this year, so no long-winded recap of all the awesome bands I saw. Sorry. But worry not, I would not forget you on this, the most exciting of days. Instead, I have assembled the Octopus Motor Paper Anniversary mix-CD. Below you will find a track-by-track listing of the mix, complete with comments about each song, and, when available, videos for each track. Enjoy!

Stay tuned for exciting, year-two entries, like “the Southland Tales Experiment” where I watch Southland Tales and drink lots of whiskey. Fun!

The Octopus Motor Paper Anniversary Mix:

1. Toilet Boys – Another Day in the Life

I first heard this song my freshman year of college, and it has never ceased to kick ass. It’s one of the most simple-minded songs I have ever heard. That may be why it has stayed in my collection for so long. Really it all just boils down to fun, gritty rock. And I think we all could use a little more grit and a lot more fun in our lives.

2. Chris Connelly – Spoonfed Celeste

At the time that Chris Connelly was recording this song, he was doing vocal/keyboard duties in bands like Ministry, the Revolting Cocks, and the Killing Joke, amongst other industrial luminaries. Connelly has always fascinated me. I first noticed him after seeing him live as a member of Pigface, and I started to realize that this guy was wholly different from the rest of the industrial metal circus. Then I heard this country-tinged piano romp. Needless to say, Connelly and the industrial music scene eventually parted ways. Both parties were probably better off for it.

3. Brother Ali – Take Me Home

My brother played this song for me a few times over the holidays as he was assembling his annual holiday mix-CD. The first time I really listened to it, though, was the afternoon of December 31^st. I was driving south on I-35, heading home from Round Rock, feeling particularly unpleased with life. I was in a foul mood following some particularly foul turns in life. As I was driving, listening to the aforementioned holiday mix-CD thinking about how life wasn’t “all rainbows und sunshine,” this song came on. I was blown away. I have never heard anything so self-affirming and uplifting. I played the song on repeat for the remainder of the drive, and ever since then I can’t not listen to this song and feel better about life, myself, and the world in general.

4. Faith No More – Surprise! You’re Dead!

Mike Patton may be the greatest man ever. Literally ever. Is there anything that this guy hasn’t done or can’t do? I seriously doubt it. I mean, listen to this thrashing, proto-rap/metal gem, then put on some old Mr. Bungle, and maybe finish off with some Fantómas or Peeping Tom. I wish I could say more, but really, I just want to take him behind the middle school and get him pregnant.

5. Liars – Plaster Casts of Everything

Liars are by far the greatest band around today. They never cease to surprise with their unbridled creativity, combined with their “fuck ‘em” attitude towards fans’ and critics’ expectations. (Though, we all know how I feel about them.) “Plaster Casts of Everything” is a driving, muscular rock song, unlike anything they’ve done before. Pulsing, repetitive, and catchy, it’s probably the closest they’ve ever come to a straight up, non-weird rocker. Which means, it’s still pretty weird.

6. Skeletons & the Girl-faced Boys – Git

I first gave this band a try based on their name alone. I mean, c’mon, “Skeletons and the Girl-Faced Boys” is bound to lead to something at least mildly excellent, right? Skeletons’ music is like old, funk-influenced Prince, but played by a bunch of white futurists. The digital sheen, electronic blips, and fuzzy keyboards combine with leader singer/songwriter Matt Mehlan’s falsetto voice to make catchy, strange, funky pop music. If you like your music fun, synthetic, and with a healthy dose of good-spirited experimentalism thrown in, I recommend checking these guys out. (Though, they tend to change their name a lot, so I’m not sure what they’re going by these days.)

7. Of Montreal – Bunny Ain’t No Kind of Rider

There are a lot of Of Montreal haters out there. Stuffy hipsters who have decided that the band has become too commercial and is no longer cool enough to acknowledge that they’re pretty fucking great. Fuck off, hipsters. They are great. The entire Hissing Fauna album is great; wrapping gloomy lyrics about divorce, bi-polar disorder, and nervous breakdowns in gleaming, upbeat, shiny pop songs. Not to mention that this song in particular is one of the rare instances where Kevin Barnes lets himself give a big “fuck you” to the source of his many problems.

8. Scissor Sisters – I Don’t Feel Like Dancing

Despite about not wanting to dance, I can’t listen to this and not dance. I wonder if they planned that…

9. M.I.A. – Bamboo Banga

It took me a while to warm up to M.I.A., maybe it had something to do with the fact that every time I saw one of her videos or album covers I instantly got a migraine, quickly followed by a seizure. Her music is pretty good, though. The old school, Casio-style synths and her chanting staccato delivery make for a particularly engaging combination. This song more or less won me over with the lines “Now I’m sitting down, chilling on gunpowder/strike match light fire/who’s that girl called Maya.” Just don’t look directly at her.

10. Saul Williams – Black History Month

The production by Trent Reznor is fantastic. The lyrics, though maybe not the best, are delivered with such fiery conviction that it easily makes up for their shortcomings on paper. The particularly awkward spoken word portion is saved the moment Williams yells “Let these suckers know the cost of making Harriet run” just as the thundering drum line creeps back into the mix and takes over.

11. Powerman 5000 – Car Crash

Following the uber-earnestness of Saul Williams, I think it’s time for a little reprieve by way of the slums of goofy alt-metal. Maybe one of the dumbest songs I have ever heard, but that doesn’t change the fact that it’s awesome. Well, maybe “awesome” is too strong a word, but how many songs include references to Mad Max? Not enough.

12. Alice Cooper – Desperado

A moody ballad by a Detroiter about an old-West style gunslinger, this song strikes a particular chord with me. Not that I’m a gunslinger or anything, but I am a native Michigander who made the unlikely journey down into the heart of Texas. Maybe it’s a stretch, or maybe it’s the understated guitar accompanying Alice’s brooding vocals that explode in tandem into a wicked double-barreled snarl. Alice lamenting “You’re a notch/and I’m a legend/You’re at peace/and I must hide” in a deep, gravelly voice over thick, powerful guitars.

13. Thao Nguyen with the Get Down Stay Down – Fear and Convience

I find this song to be extremely comforting. Sort of like crawling under a blanket after coming inside from the cold, or taking a hot shower after walking through the rain. The playful guitars and mid-tempo rollicking drums perfectly compliment Nguyen’s coy, woman-girl lyrics and vocals.

14. Black Kids – I’m Not Gonna Teach Your Boyfriend How to Dance With You

I wonder if the Black Kids will be able to survive the huge amount of hype surrounding them. Regardless, they will at least always have this song. Fast, kind of messy, and begging to be sung along to, this song always makes me want to shake it. Too bad your boyfriend’s just going to “bite my moves.”

15. Dresden Dolls – Girl Anachronism

This is the first Dresden Dolls song I ever heard. Which might have been an unfortunate thing for me, because no matter what else I hear by them, I always compare it back to this. The spastic pianos and frantic spouting of lyrics about self-mutilation and child birth make for an insanely enjoyable two and a half minutes. As much as I enjoy their other stuff, nothing compares to the piano stomp of “Girl Anachronism.”

16. High on Fire – Rumors of War

This band renewed my faith in modern, straight-up metal. The brief pause after the line “spit in the evil eyes” before the guitar, bass, and drums explode under Pike’s growling “Stand our ground with hate and fury/Fear that comes will die” gives me chills. And sort of makes me want to shake some people by their collars before punching them in the face. Of course, this really isn’t new news.

17. Blur – the Universal

I don’t really like Blur all that much. I mean, they’re OK, but I’m more or less indifferent to them. But “the Universal” is one of the greatest songs I have ever heard. The strings and lyrics lend a dark, surreal undercurrent to the song (e.g. “No one here is alone/satellites in every home/yes the universal’s here/here for everyone”), before it the music rises into the anthemic chorus of “It really, really, really could happen/yes, it really, really, really could happen/and the days they seem to fall through you/well just let them go.” For whatever reason, it always bring to mind a generic movie ending, where the main character walks down the street, back to the camera, as the camera slowly pans back, higher and higher into the sky, and we know that no matter what trials and tribulations our hero suffered through, he’s going to be alright.

18. Hefner – Hello Kitten

There’s always room on a mix for a folksy rock song about masturbation.

19. David Bowie – Golden Years

Along with jam bands and house music, I can’t stand blue-eyed soul and white funk music. And yet, it’s as if Bowie keeps creeping up on me and whispering in my ear, “You don’t know what you’re talking about.” This is straight up white funk, but it’s also really good. I don’t know how he does it, but I love walking down the street, my giant, goofy, DJ-style headphones on, listening to that bass line and hearing Bowie tell me “Don’t let me hear you say, life’s taking you no-o-where.” It totally makes me strut like I have a moustache.

20. Isobel Campbell and Mark Lanegan – Ballad of Broken Seas

I love Mark Lanegan’s voice, but I’ve always been a little frustrated by it. He seems to have a problem finding the right style of music to make full use of it’s deep, whiskey and cigarette soaked sound. Who’d of thought that an ex-Belle and Sebastian member would be the one to bring it out? “Ballad of Broken Seas” might not be the best song on their duet album, but its gentle pianos, plaintive cello, and tales of self-destruction seem like a fitting end.