KMNR New Music

Wow, the new music has been kinda quiet recently. I’d like to change that, so I’m going to review some of the new music that I’ve listened to. Just a note: I picked stuff that seemed relevant to my interests, so it might not be incredibly diverse.

Formed in 2009, Off! is a punk rock supergroup, featuring Keith Morris (Black Flag, Circle Jerks), Dimitri Coats (Burning Brides), Steven Shane McDonald (Redd Kross), and Mario Rubalcaba (Rocket From The Crypt, Hot Snakes). While techincally their second album, it’s their second album, in the way Repeater is Fugazi’s second album (each band’s first album was a collection of EPs.) And it’s pretty much what you would expect from a Keith Morris band. The whole album is 16 songs long, but doesn’t even last 15 minutes. Speed, energy, and Keith’s vocals are the true highlights of this album. The band writes short powerful songs, that don’t stay around long enough to wear out their welcome. The best way I can describe this album is Circle Jerks or Angry Samoans with modern, cleaner production. Definitely give this album a listen if you have an old-school punk craving. This album went for adds on May 8th.

Originally released in 1980, Portable Pop has been out of print since the early 80’s; now, though, it’s getting a release on CD. When I saw that it was late 70’s/early 80’s power pop, I knew it would be right up my alley. And it is; while not absolutely brilliant, it still wonderfully fits right in that power pop niche also occupied by Big Star, The Knack, and Cheap Trick. Strong songwriting is given a dirty, garage sound due to the band recording the album live on a loading dock. If you like the bands I already mentioned, you might like Portable Pop. It went for adds May 22nd.

Let one thing be clear: I am not a fan of the Sex Pistols. Neither is John Lydon, singer/songwriter for Public Image Ltd. (he’s also known as Johnny Rotten, lead singer of the Sex Pistols.) The Sex Pistols originally were started as a marketing ploy for their manager, Malcolm McLaren, to sell merchandise from his punk clothing store. What John Lydon really had a passion for was reggae, dub, krautrock, Frank Zappa, disco, and much more. Public Image Ltd. was the band Lydon was proud of, and the music he wanted to make. Metal Box is one of the best post-punk albums of all time. I’m glad to say that Lydon can still write songs; very good songs, with plenty of variety and experimentation. Ironically, the number one creative force behind the band is also the worst aspect of the music. Lydon/Rotten never could sing, but that doesn’t stop him from trying to sing, or trying to snarl, both of which sound forced and embarrassing, due to his age. Vocals aside, This Is PiL is full of creative songs and tight musicianship from the band. If you’re already a fan of Public Image Ltd., or if you want to hear Johnny Rotten in a completely different style of music, I heartily recommend This Is PiL. It goes for adds on the 28th of May.

Feb 21

Jan 24

List - Generic Lebowski

If there’s one thing I love talking about, it’s music. I will often bring up music in everyday conversation, and my peers will have very little clue as to what I’m referring to. Well now, here’s your chance to reach into the mind of Lebowski and find out what makes me tick; included are 10 of my favorite albums in (roughly) order of quality. This list isn’t definitive; my favorites change constantly, but this would be a good introduction to the kind of music I listen to the most. All of these can be found in our lovely library, so be sure to check them out when you have the time! (Note: If there’s a “V” in front of the reference number, that means it’s a vinyl album. “CD” indicates a CD.)

This is a completely unique album. It’s the most meticulous, planned-out album I’ve ever listened to. Even though this is labelled as punk, don’t go in expecting anything like “typical” punk rock. It still counts as punk, because it was a band doing what they wanted, and taking music in new, interesting directions. The guitarists, Tom Verlaine and Richard Lloyd, strove to create rock and roll removed from any element of blues music. The result is an outstanding guitar rock album with creative riffs and solos. Even during the speedier sections, like the guitar solo in “See No Evil,” the band never loses any control; every note is played to perfection, and not a single one is wasted. Every bit of every song serves to either build or release tension. The dueling guitars interact and create interesting textures. The highlight is definitely “Marquee Moon,” a 10-minute roller coaster track with one of the best guitar solos of all time. It’s almost unfair to label them guitar solos, because they aren’t indulgent at all. . One of the very best albums to come out of the initial punk rock movement, and the best to come out of the New York scene.

“Flipper stared into the abyss, and hocked a loogie at it.” This quote, written by Simon Reynolds in Rip It Up And Start Again, a book about the post-punk movement, are the perfect words to describe Flipper. Gleefully nihilistic, Generic is one of the most depressing and joyful albums ever. Depression is the initial emotion when listening to this album, with lyrics like “ever wish the human race didn’t exist and then realize, you’re one too?” and slow, dirge-like music. But by the phenomenal album-closer “Sex Bomb,” you should realize Flipper are perfectly okay with this view of life, and use its inherent negativity to power their creative energy. The music is untalented, sloppy, and noisy, but the style perfectly suits the band. Instead of trying to play out of their limited range, Flipper makes the most of their abilities and creates midtempo songs with noisy waves of guitar, loud basslines, and echoy drums. There’s something very primal about Flipper’s music, and it definitely sticks with you. If need one track to convince you, listen to “Sex Bomb”; all eight minutes. A funky bassline that never stops, atonal saxophones, hoarsely shouted lyrics, consisting only of “Sex bomb mama, yeah!” and “She’s a sex bomb my baby, yeah!”, and a single keyboard note all combine into one sloppy, glorious mess of a song.Ultimately, Flipper put their heart and souls (and even their lives; RIP Will Shatter) into their music, and it definitely shows. This album is a hard sell, but give it a listen for something different. Kurt Cobain wore a homemadeFlipper shirt on his first Saturday Night Live appearance, and this album will tell you why. Flipper still rules, okay?

I’m cheating by putting these two together, but the other best albums of the 80’s are double-albums, so whatever. The Replacements wereHusker Du’s main rivals; both hailed from Minnesota, and both started out as hardcore punk bands that quickly evolved into more emotional and complex bands. Let It Be and Tim were released one year apart from each other, and while there was a fair amount of evolution between the two, they remained similar in style. Let It Be was The Replacements’ last record with any heavy hardcore influence; it’s present on songs like “We’re Coming Out” (the best song to mix punk rock and lounge music) and “Gary’s Got A Boner,” but they are tempered by the more mature songs like the piano-focused “Androgynous” and the hard-rocking “Answering Machine.” It remains a very cohesive album, with some fantastic songwriting. The highlight is “I Will Dare,” a bright sunny song which features Peter Buck of R.E.M. performing the guitar solo. (If the album’s title didn’t tip you off, that fact shows that these guys were fairly cheeky.) Tim sees the band leaving behind the juvenile songs, replacing them instead with raw emotion. The Replacements definitely felt like a bunch of losers on the outside of society; this is most obvious on “Bastards Of Young,” the best track of the album. Other tracks like “Here Comes A Regular” and “Swinging Party” are slow emotional numbers all about young romance and loneliness. Still, the band can rock out with “Dose Of Thunder,” and “Left Of The Dial” is the definitive college radio anthem. Give these albums a chance, and I can almost guarantee they won’t disappoint.

Hey, speaking of Minnesota, here’s the other major band, Husker Du. Just like The Replacements, Husker Du intially were a hardcore punk band, but soon moved into more complex territory. This album is a double-album rock opera about a young man who leaves home and joins the punk rock scene only to realize it’s not all he thought it would be. The story takes second place to the music, though. The band worked hard on this record, and it definitely shows. Playing with a speed most punk bands would be jealous of, the band tears through numbers like “Something I Learned Today” and “Pride,” but aren’t afraid to slow it down and let the melodies take control, like on “When Pink Turns To Blue” or the anthemic “Turn On The News” with its perfect shout-along chorus. For an album with so many songs, it’s hard to believe that so many are memorable and they don’t start to blend together; the band avoids this due to the creative songwriting. The only song on this album that isn’t fantastic is the final track, “Reoccurring Dreams,” which is about fifteen minutes of experimental/psychedelic noise, which isn’t the band’s strong point. Still, with so many great songs it’s impossible to not recommend this album; it’s often regarded as one of the best albums of the eighties for very good reasons.

This band is mostly known as a one-hit wonder for “Don’t You Want Me,” (which is an amazing song) but many won’t realize that the album that song comes from is an astounding new wave record. Dare was a completely different album for The Human League; their first two albums were very abrasive industrial music (not NIN-style industrial, more like Throbbing Gristle/Cabaret Voltaire industrial). Because of money issues, the band decided to persue a more commercial sound for their third album. Some hints of the old industrial Human League are present, like the cold opening drums of “The Things That Dreams Are Made Of,” or the explosions in “Do Or Die,” but the band focused on strong pop songwriting for this record, and it definitely paid off. Admittedly, the album does sound dated, but not in a cheesy way; more in the way that it captured a moment in time, and put it on vinyl. The hooks are strong, and the choruses are just begging for the listener to sing along. The sound is very crisp and clear; none of the instruments overlap the others. Honestly, every song on this album is great. Even the one-minute “Get Carter” which only serves as an intro to the second side. The high points are “Don’t You Want Me,” the electronic funk of “Do Or Die,” or the warm synths of “Love Action (I Believe In Love).” This shouldn’t have been a one-hit album, it’s definitely worth listening to. In my opinion, this is the greatest pop album ever made.

THIS is anarchy. Not in any political way, but the music is pretty much anarchy in sound form; so they’re more anarchic than the Sex Pistols(ayooo!) Forget about any sort of clean guitar work or steady drumming; with the kind of energy that would scare pretty much any other band, The Damned run through this collection of songs at blistering speed, rarely slowing down. The real star here is Rat Scabies, the drummer. In his prime (ie on this album), he was pretty much punk’s answer to Keith Moon. This isn’t meant to insult the other band members, either. Brian James’ guitar work is top-notch, playing loud catchy riffs and ridiculously fast, technically complex solos. This album’s main draw is the shear force the band can generate. Though The Damned’s other albums, like Machine Gun Etiquette and The Black Album place more focus on songwriting, this album is my favorite of theirs just for its speed and energy. Key tracks include “New Rose,” the first British punk single ever, “Fish,” which has one of my favorite guitar solos ever, and “See Her Tonite,” which closes out with a crazy drum fill. If you need any more convincing, the album closes with a cover of The Stooges’ “1970” (here titled “I Feel Alright.”) Give this album a spin if you’re in the mood for a sloppy, fast, crazy time.

The Wipers’ first album was a great collection of punk songs about emotional isolation and depression. On Youth Of America, Greg Sage (singer/songwriter/guitarist) decided to remove himself from the short-fast-loud style that had become standard in punk music and decided to write longer, more complex songs. Youth Of America is only a half-hour long, and contains six songs; almost unheard-of song length for most punk bands. But the songs aren’t just three chords repeated for five minutes; Greg Sage took a lot of time to craft hard-hitting emotional melodies and lyrics. The title track is 10 minutes long, and starts out with a catchy energetic guitar riff, but the song quickly descends into psychedelic madness. The song lets up a little bit, giving the drummer and bassist some time to play by themselves, but it is quickly followed by loud guitar screeching and Greg Sage making animalistic howls. It’s obvious this song was intended as the rallying cry of a generation, with its shout-out-loud chorus and message about the state of American youth; it is without a doubt the best song on this album. Even if the other songs sucked, I would still recommend this album just because the title track is so perfect. But the other songs are also incredible. “When It’s Over” makes wonderful use of a slow-burn to build up tension, and finally release it. The entire album is very cathartic, with heavy emotions and relief. Give this record a try if you’re looking for something different.

Don’t let the “emo” label turn you away from these guys. In the late 80’s/early 90’s, “emo” was used to describe a wave of emotional, complex bands born out of the DC punk scene; bands like Rites Of Spring, Fugazi, almost the entirety of Dischord Records’ output, and At The Drive-In.Drive Like Jehu was also in this category, and was arguably the most complex of the emo bands. Their second, and last, album Yank Crime truly shows what a band with a clear, focused musical attack can accomplish. Guitars that sound like birds chirping, krautrock-influenced riffs, and gradual tension building all showcase Jehu’s unique musical vision. The result is a cohesive album that’s incredibly unique and artistic, but very hard-rocking as well. The standout track here is “Luau,” a ten-minute showcase of all the bandmembers’ talents; filled with monstrous guitars, circular interlocking guitars, and perfectly placed screeches, it is the definitive emo song. The production is very sharp, crisp, and beefy; none of the instruments sound limp or weak. Definitely give this album a chance if you’re looking for cerebral, intense guitar rock.

You can blame this album for getting me interested in exploring music outside of my comfort zone and turning into the music-obsessed person I am today. A stunning effort, this mixture of punk, jangle pop, post-punk, metal, and psychedelic is a one-of-a-kind album, even for Dinosaur Jr. Be warned, this isn’t a clean album. The sound is very dirty and raw. When lead singer/guitarist J Mascis turned the master tapes into the record label, he purposefully mixed it so all the instruments were in the red. Peel away the noisy facade, though, and you won’t see that it’s compensating for anything. The songwriting is top-notch, and that’s the reason the album works so well. The songs constantly change and evolve, swithcing effortlessly between styles and sounds. J Mascis has become famous among indie bands for his solos; entertaining and technical, but never self-indulgent. The best example of these elements would be the cover of The Cure’s “Just Like Heaven,” which starts with jangly R.E.M.-style chords, but the chorus is almost straight metal, with chugging guitars and unintelligible shouting, topped off with an amazing solo. And that’s not even the best song on the album; I can’t pick a best, but some of my favorites are the opener “Little Fury Things,” the sludgy “Kracked,” or “In A Jar.” I really can’t talk enough about this album. If you have any interest in noisy indie music or great guitar rock, this album is a must-listen.

Really, what more can be said about this album? Their labeled advertised The Clash as “The only band that matters,” and you can see why with this album. The evolution of The Clash from a punk band singing “we’re a garage band/and we come garage land” to writing one of the most influential records of all time is crazy. The greatest thing about this album is the band’s ambition. The Clash try to include many different styles of music on this album, from 50’s rock-and roll to ska to rockabilly. The results are outstanding. The songwriting itself is fantastic, with unpredictable surprises (The jazz breakdown in “The Right Profile,” the complete restart during “Wrong ‘Em Boyo”). This is, without a doubt, my favorite album of all time. I can only really come up with two complaints; “Revolution Rock” is about a minute too long and feels like a filler track, and “Lover’s Rock” is somewhat sexist with regards to unintended pregnancies. Still, the variety, the songwriting, and the soul all make this a masterpiece. The best tracks are the apocalyptic “London Calling,” the rhythmic, dystopian “Clampdown,” or the sad yet upbeat closer “Train In Vain” (which was added at the last minute, and doesn’t appear on the album sleeve.) If you even want to pretend that you like punk rock, this album is required listening. It’s been so critically acclaimed, it really should be listened to whether or not you care about punk. I will talk about this album forever because it is so good.

Jan 17

Philbin’s Top 7 Albums of the Library

I don’t need to remind you that we have a lot of music in the library. Most of could spend years rifling through albums and still miss some incredible gems. So for the musically curious DJ out there, I and the rest of the assistant MDs have come up with a list of our favorite albums in the library right now. So please read and stay tuned for more to come.

7. Calculating Infinity – Dillinger Escape Plan - RR25,332A

Okay, Okay, I admit, I’m a Dillinger Escape Plan hipster. I loved them when I first heard them, which right before they released Miss Machine back in 2003 and I got to see them when I was 14-15 years old. That was when they were still playing in small clubs, blowing fire into the crowd, and picking people up from the crowd by their throats while screaming in their face. It was intense, it was insane, and it was beautiful.

Since then they’ve release quite a few more albums, gained quite a few more fans, and picked up a bit of suck on the way. Yes, I’ve listened to their more recent albums and seen them live recently, so I’m not just pulling the hate from out of my butt.

So Why Do I dislike them now? Listen to Calculating Infinity. Listen to how very little seems to make sense. Listen to the chaos, the complete lack of choruses and verses (in the traditional sense), and the courage it took to create such unique music and then try to market it. Now, DEP just isn’t the same in my eyes and I just don’t think they could ever go back to the musical brilliance that is Calculating Infinity.

6. Daughters – Hell Songs - RR31,513A

Where DEP drops the ball on the spastic hardcore genre, Daughters picks it up and then proceeds to rape said ball while on some weird ecstasy trip behind the dumpster of an abandoned orphanage, all while slithery, snake demons from the lowest level of hell laugh and mock at the ball’s inadequacies.

That’s how I feel about Daughters. Before Hell Songs, Daughters was a scream-core band with guitars that sounded like their players just purchased whammy pedals and refused to not use them on every-single-second of every song. Then, they released Hell Songs and the lead singer dropped the screaming and chose to just sing like an enthusiastic evangelical preacher is doing a bad Elvis Impression, which sounds a thousand times scarier. Daughters will creep you out and make you feel like you need to take a shower afterwards and I love it.

5. Candira – Process of Self-Development - RR13,503

Being unique plays a big factor on whether or not I like a band’s music and to say Candiria’s Process of Self-Development is unique may be a bit on an understatement. Very few bands have had the balls to combine genres in such an apparent manner and this album specifically makes almost no attempt to try and mold sounds and styles of each kinds of music. The result is an album that may have a hardcore-rap-metal track with low tuned guitars, breakdowns, and in-your-face vocals followed by a simple jazz track with horns followed by a long ambient track with jungle rhythms. The combinations seem abrasive at first, but it forces you to listen and wonder what may be next. I would describe listening to this album the entire way through as an “unpredictable trip” or a “truly unique experience”.

Most metal heads know that Chuck Shuldiner and his band Death were pioneers of the genre and more than qualified to hold the title of “Fathers of Death Metal” even though it isn’t particularly true. So, I’ll address the rest of this review to those who don’t “get” Death Metal. If you don’t, then I would recommend to you Death and the album Sound of Perseverance. Death showed that that death metal isn’t all about unpleasant lyrics and chug-chug guitar rhythms. No, Death approached complex, mind-opening lyrics while introducing us to evermore complex, interesting song-writing and structures. While death metal is difficult for most people to open their hearts to, Death can easily silence the critics and show that it can be treated like art just like anything else.

I have a love/hate relationship with Fusion. While I can appreciate the mastery that is required to play it, I find it boring and better suited for elevators than my Ipod. Though if asked me if I liked Jazz fusion, I would say “Yes”. Why? Because of the early days of Fusion, when it was raw, powerful, and a truly great representative for both of the genres.

Billy Cobham’s Spectrum is a prime example of that. If you listen to the album, you can hear that mistakes were made and that it wasn’t perfectly produced, but who cares? No one, because all the elements that made up the band seems to come together in one giant mass of jazzy-aggressive-rock awesomeness.

I was hesitant on putting this album on the list because, if you know anything about metal , you know Meshuggah. From what I understand, those who know metal, most like Meshuggah in some form and those who don’t know anything about metal, hate Meshuggah. Regardless, Nothing was the album that got me to love metal in a very serious way and I have never looked back. So… there.

A friend of mine would ask “<insert band name> 1 through 10?” and I would rate the band with what would usually be a “7” or an “8.5” if I liked the those bands. This led to think of what bands I would give a perfect 10, a band that I love so completely that I wouldn’t change a damn thing, and only two bands came to mind. One is the Swedish metal band Meshuggah and the other is the jazz rock band Morphine.

Morphine is just one of those bands that never fails to make me feel something when I listen to them and The Night is a shining example of that. It doesn’t matter if the feeling is sorrow or happiness, morphine has its way of reeling me in with their low frequency jazz rock. Highly recommended.

Sep 29

New Music Reviews! (Hardcore Edition)

Just like last week, I was drawn to this record by the influences. This time, comparisons were drawn to Revolution Summer bands like Rites of Spring. Plus, I’d heard good things about this band, so I decided to check it out. My first impressions before even playing the music were good; the album has 13 songs, but is less than 21 minutes long. The opening song, Tilde, starts off gentle, before launching into an all-out audio assault. The rest of the album is similar, with loud guitar, crashing drums and cymbals, and the lead singer howling like an unholy mixture of Steve Albini (Big Black, Shellac) and Guy Picciotto (Rites of Spring, Fugazi). There’s almost no silence on the album. The only breaks for the listener are when the band plays quieter bits, like the mostly piano Condolences, hearkening back to At the Drive-In’s Non-Zero Possibility. A great listen for anyone seeking high energy music.

I’ve only listened to the Misfits’ first album, Walk Among Us, so I decided to listen to their newest album. The album starts off alright, although it’s severely lacking in the speed and energy that helped make the Misfits the punk legends they are today. This is one of the problems that pervades the album. For a hardcore punk band, they aren’t too fast. This is most likely due to the age of the members. It’s been almost 30 years since Jerry Only first played bass on Walk Among Us, and the years (and lineup changes) have taken a toll on the band. In all, the album’s 16 songs take 50 minutes to play out. Most of the songs lack any definitive hooks and don’t have any sort of real energy. And by the end of the album, I started to lose interest. Overly long and without too much energy, The Devil’s Rain is disappointing, even if there are a couple good songs.

Recommended Tracks: Land of the Dead, Cold In Hell, Jack The Ripper, Ghost of Frankenstein

Sep 28

Oh my!

We just got the new Opeth and Misfits album into the station. Look for those to be on the new rack soon.

Also, we will be getting the New Bjork album in mid-October and an album by Brite Futures (formerly known as Natalie Portman’s Shaved Head) in mid-November.

There is probably more, honestly, but I can’t seem to remember. Keep your eye out for whats coming into the station!

Sep 22

More 90’s Influenced Rock!

Initially, I was drawn into this album by the impressive list of influences on the CD sleeve: Fugazi, The Jesus Lizard, Built to Spill, and more. So I sat down, and gave this album a listen. The first song gave me good faith in the rest of the album, with a very Jesus Lizard-like rhythm section of destruction, heavy bass and drums in front of scratching guitar lines. Exactly what I needed on a dark rainy day like this. As the record went on, though, its true nature was revealed; midtempo, slightly ambient indie rock. Even though it maintains strong drum and bass sounds throughout, it doesn’t regain the momentous energy of the first track, although track 6 gets close. Still, it’s an album worth checking out if you want a good dose of 90’s style indie rock.

Sep 12

New Music For This Week

The new music blog has gone silent for the last month or so, but it’s back with a simple list of some of the great music that has come in at the station for this week.

Aug 05

New (Old) Vinyl

Historic Performances Recorded At The Monterey International Pop Festival, 1967

Sometimes I sit in my room and cry a tear for the deaths of Joe Strummer of The Clash and three of the four original Ramones and the overwhelming feeling of emptiness I get when I realize that I’ll never get to see these bands live. So I end up throwing on Rocket to Russia or London Calling and go back to doing whatever it was I was doing. So many sweaty punks witnessing the creation of alternative music as it’s known today without even realizing it. The difference between those shows and the one recorded on this LP are that the hippies definitely knew what they were hearing. How could they not? In It’s Kind of a Funny Story one of the mental patients had super-hearing from taking something like 100 tablets of LSD. I’m going to guess one or two were probably enough for these concert-goers to be completely floored by Otis Redding’s voice and Hendrix’s guitar. So many sweaty punks, so many dirty hippies. About 50,000 of them actually. Ok, so a lot of them probably bathed regularly, and maybe there weren’t that many people on illicit substances. Someone was sober enough to record this show. And it’s a good thing they did.

Hendrix was virtually unknown in the US beore this performance- only two years before he headlined at Woodstock. The album only features one Hendrix original, “Can You See Me” from the 1967 album Are You Experienced. Also included are two amazing performances of Bob Dylan’s “Like A Rolling Stone,” followed by B.B. King’s “Rock Me, Baby.” Finally, in one of the coolest stunts of the time, Hendrix covered his guitar in lighter fluid, lit it on fire, and smashed it into pieces during “Wild Thing.”

If you’re not an Otis Redding fan, you’re missing out. This was one of his last big concerts before his death at age 26. Performing Sam Cook’s “Shake” and his own “Respect” the same year it was made famous by Aretha Franklin. “(I Can’t Get no) Satisfaction” puts Mick Jagger to shame. The concert ends with the 1930’s classic “Try A Little Tenderness,” turned one of the best songs of all time by Redding.

Bunny Walier- In I Father’s House. Solomonic Records. Kingston, Jamaica.1979

Original member of the Wailers (Bob Marley) and named one of the three most important musicians of all time. His fifth album released in 1979.

Windy City Blues: The Transition - 1935-1953. Nighthawk Records, St. Louis.

A compilation of obscure southern-born bluesmen who immigrated to Chicago before the Second World War. Featuring Robert Lockwood, Guitar Pete Franklin, Pinetop, State Street Boys, and Washboard Sam (among others).

Jul 26

My Ears are Happy! *(Mostly) New Music for 7/26*

This week’s ADDs blew me away! Then I also got a CD with copyright date 2009 that should be a lot more popular than it is.

Regional at Best is the second album released by Twenty One Pilots. Their songs are a fusion of indie pop, electronic, and rap. In general, many of their lyrics are consciousness put into words. It’s difficult to really name any kind of genre or style of music, they are so versatile within each song and also from song to song. Their beats are amazing, their raps are original in rhythm and lyrics and fit perfectly into the rest of the song. This is what I want to hear, at maximum volume, all the time. There are songs to make you feel good and songs to make you think too much - everything you could ever ask for. I liked: “Lovely” “Car Radio” “Kitchen Sink” “Guns for Hands” and “Holding On to You” but really the entire album is amazing. The lyrics are ridiculously quotable.

“I put my socks on my feet just so my soul won’t fall through my toes” - “Slowtown,” track 4

sub-intellect by LowHero.DLL is an amazing display of creativity that he just decided to share with the rest of the world. This album was released in 2009 but has an 80’s electronic sound interwoven with melodic lines and autotune. The lyrics are engaging. I LOVE the tracks “L~o~v~e” “Escape Swim” and “Open Mind” remixed by Testube.

This album is sort of experimental electronica. It sounds like the 80’s and an organ, but better. The first track, “Return to the Violence of the Ocean Floor,” actually sounds watery; it is apparent that Moonface has some talent with the organ. This album is very entertaining to listen to. Be careful if you’re going to play this over the air, though, as 3 of the 5 songs are not FCC clean.

Tripper is a mellow indie-folk album by the band Fruit Bats. I feel like it is worth mentioning and worth it for you to check out. It is good relaxing music.

So, this is not music, but there was a really funny comedy CD that made its way to KMNR this week: Good One by Tig Notaro. Great stand-up routine. She’s a lot like Sarah Silverman.

You should definitely give all these a listen/play, but if you don’t have time for all of them, particularly Twenty One Pilots and LowHero.DLL.