What We're Listening to This Week

There's always a random assortment of tracks making their way through my little Genius contraption (my iPod or iPhone), ahhh how it knows me so well. I look forward to the day the Genius will be able to tell me what I want to eat and Siri can run out and get it. I'm hoping perhaps I might be able to act as your Genius this week and let you in on some of the oldies, the newbies and the not so newbie oldies that'll be flowing through my speakers the whole week through. "Operation," by Yuck: I only recently came upon this London-based rock set, and I can't stop listening to them. Though I only list the track "Operation," I really could have put any one of the tracks from their eponymous record. Yuck's Yuck has everything a phenomenal rock album should: the quiet songs ease you and the high power songs jack you up. "Simple Song," by The Shins: The Shins' new CD Port of Morrow came out a few weeks back, and I kind of hated it when I first listened to it. When a friend asked me why I had such strong feelings about it, I told her that there wasn't a single track on it that I wanted to listen to on repeat. She corrected me, telling me that was what was so great about the album. I went back and gave it another listen and realized the album is meant to be played on repeat. The songs create an impressive journey through the mind of the musician. "Simple Song," shows derision from the regular course, as there are hints of jazz and blues rippling through it. "Better Than Me," by The Cribs: The Cribs are back sans-Johnny Mars (thank God). This is one of the pre-releases from their next album In The Belly of the Brazen Bull. It marks the return of the band to their punky roots. A little something to thrash your head to. "Infinite Canyons," by Miami Horror: The Aussies know how to make some pretty rad electro-rock. Miami Horror are different from their counterparts (Cut Copy, Empire of the Sun) in the mellowness of their tracks. Press play on this album, go to the beach and watch the waves craaaaaaash. "Love King," by The-Dream: We all have our guilty pleasures, alright? The sample on the back of this track is symphonic, while the crescendo is as impressive as any well-composed musical. "Come on Feet," by Quasimoto: To make up for the guilty pleasure here's an old school track that should add a gray undertone to any sunny day. You think Odd Future just popped out of nowhere without any influences? Listen to this track and tell me you can't hear the origin, baby. Plus that's a mad music video. "Let's Get Out of Here," by Les Savy Fav: I've never bought an album by these guys and I think it's because I always enjoy returning to them and being surprised by how great a band they are track-by-track. "Let's Get Out of Here," represents the most used line in cinema, and romanticizes it and sexualizes it with a guitar riff and a panicked voice. "Shy," by A Sunny Day In Glasgow: I'm still waiting for the warm weather to consolidate. This is one of those tracks that you plug in, and just appreciate the cherry blossoms breezing in the sun. "I Wanna Kill," by Crocodiles: Revisited this track after watching the trailer for the upcoming Detention (which looks awesome). Crocodiles were on the forefront of the aught lo-fi movement. Only difference is that they did it well. It sounds hollow, but at least I can understand it, and the reverb actually adds to the song. "Call Me," by Al Green: Look, I'll say it: I love Al Green. He took such obvious joy in his music. And that voice! Jesus. Check out the live version of this song before, and tell me something isn't getting a little stirred up for you.