Pavement - Brighten the Corners

Thousands of adjectives could be thrown around to describe Pavement's erratic brand of 90's alternative rock, and not a single one of them would come close to hitting the nail on the head. While "Cut Your Hair" was their only true hit (Stephen Malkmus wasn't exactly too charming live), all of the band's albums were welcomed with modest commercial success and immense critical acclaim, save their 1992 debut Slanted and Enchanted, which has only sold around 150,000 copies since its inception. Hey, that's a hell of a lot more records than I could sell.

As if you could argue the band's consistency, the fact that Pavement diehards are in a constant state of debate over the group's best record only adds to the credibility of Malkmus and his boys. While they seem to have agreed that the early albums are slightly superior, the band's later work certainly doesn't get ignored, and although there isn't much to defend, today, I'll be making my case for 1997's Brighten the Corners.

What seems to be the most common gripe with Brighten the Corners is that the album, for the most part, doesn't do as much to keep the listener's attention as, say, Crooked Rain, Crooked Rain. As a result, it's often mistaken for being... well, snoozy. Coincidentally, these exact complaints are what keeps me coming back for me. It's exactly what I love in a record once in a while; laid-back, summery, all things desirable. It's not exactly the most radio-friendly stuff, but it's wonderfully catchy, and one of the rare albums I could probably listen to all day. But, like anything else, Brighten the Corners will always have its haters. They can talk to Stephen Malkmus about it. I don't think he gives a shit about anything.

What about the voice of Geddy Lee?
How did it get so high?
I wonder if he speaks like an ordinary guy?

The Top 25 Songs of the 00's, Pt. 2

I'm back for more. More milestones of pop culture from an era of iPods, internet hype, and boring, Pitchfork-approved indie pop that I can't seem to get enough of. So here it is; the second of five installments of my favorite twenty-five songs of the aughties, solely for your entertainment, pleasure, etc.


20. The Flaming Lips - Fight Test
from 2002's "Yoshimi Battles the Pink Robots", released on Warner Bros. Records



I don't know where the sun beams end
And the star lights begin
It's all a mystery
And I don't know how a man decides
What's right for his own life
It's all a mystery


19. Jay-Z - 99 Problems
from 2003's "The Black Album", released on Roc-A-Fella Records



I heard "Son do you know why I'm stoppin' you for?"
"Cause I'm young and I'm black and my hats real low?
Do I look like a mind reader sir, I don't know
Am I under arrest or should I guess some more?"


18. Animal Collective - Brother Sport
from 2009's "Merriweather Post Pavilion", released on Domino Records



You got to weigh what he said
To help you shape the way you play
You gotta get rid of the mourning
Sort out the habits of your mind

17. The National - Mr. November
from 2005's "Alligator", released on Beggars Banquet Records



I wish that I believed in fate
I wish I didn't sleep so late
I used to be carried in the arms of cheerleaders

16. Interpol - Obstacle 1
from 2002's "Turn on the Bright Lights", released on Matador Records



It's in the way that she poses
It's in the things that she puts in my head
Her stories are boring and stuff
She's always calling my bluff

Refused - The Shape of Punk to Come

Fame can sometimes be cruel with its choices. For instance, why does hip-hop reward Usher and latter-day Eminem, but leave heroes and innovators like DJ Shadow and Deltron 3030 to die in quasi-obscurity, especially when the latter group has a much tighter grasp on the scene?

Unfortunately, Refused fall victim to this very phenomenon. Shunned by the mainstream, The Shape of Punk to Come was doomed to fail commercially from the beginning. Compared to its contemporaries (blink-182's Enema of the State and the Offspring's Americana, for example), The Shape of Punk to Come was far too long, far too aggressive, and far too experimental to make any kind of sudden impact on angst-ridden anarchistic high school kids, or anyone else who wasn't an Internet regular (a rarity at the time) or down with the post-hardcore scene.

Fortunately, The Shape of Punk to Come ended up being one of history's most prophetic album names, its wildly experimental and over the top music influencing underground and mainstream punk and hardcore years after its release. And despite the tremendous influence Refused have had, The Shape of Punk to Come still hasn't gotten quite the recognition it deserves. Kids who live and die by the lyrics of, err, fine wordsmiths like Mike Shinoda haven't even caught a glimpse of hardcore until the opening lyrics of "Worms of the Senses / Faculties of the Skull" infiltrate their ears.

I've got a bone to pick with capitalism
And a few to break!

Dr. Dre - The Chronic

For all you fun-hating prudes who despise everything about hip-hop, you have Dr. Dre to thank. The godfather of all things gangster, the good Doctor has crafted an album too funky and offensive to be ignored. Dr. Dre gave birth to G-Funk. Dr. Dre single-handedly created Snoop Dogg's career. Dr. Dre is why your grandma hates black people.

Okay, perhaps that's a bit of a stretch. But denying the impact of The Chronic is difficult, if not impossible. This album defined '92. The L.A. riots, the civil unrest, the brutality, the racism. It's all here. "The Day The N**gaz Took Over" probably hits the hardest, its lyrics told in excruciating detail, and its news report-esque interludes chilling and eerie. And 18 years later, it can't shake the feeling of being just a little tacky.

Fortunately, Dre has Snoop at his side. Simply put, everything Snoop Dogg touches turns to gold. Providing a bit of a comic edge to tracks like "F**k Wit Dre Day" with his seemingly effortless and carefree flow, almost coming off as lazy at times. Snoop is perhaps the only man that can rap about fellatio and homophobia without a hint of emotion in his voice, a trait that only adds to his charm and appeal. He would later outstage Dre on 1993's phenomenal Doggystyle.

I won't deny that The Chronic sounds quite a bit dated in 2010, the albums that outclass it probably wouldn't exist without it. Laying out a blueprint for hip-hop to come, Dre's synth-heavy beats and biting lyrics are still prevalent in much of today's rap. I guess you could say his legacy is... chronic.

The Top 25 Songs of the 00's, Pt. 1

Every day I miss the zeroes (for lack of a better word) more and more.

I feel like it was easily the best decade for music, the forerunners of scenes like garage rock revival and indie pop taking the influences of their predecessors and tweaking them perfectly. It was a decade in which mainstream pop divas like Beyonce and Lady Gaga tore holes through the candy-coated radio rock stylings of Nickelback and Linkin Park.

So, without much further ado, here it is. Twenty-five tracks in all their glory. Maybe you'll agree, maybe you won't. I guess we'll see. It'll be five tracks a week for five weeks. And please, if you're reading this, leave a comment. Leave your thoughts. Leave criticism. Leave death threats. Leave whatever makes you happy. Come along for the ride.



25. Common - Be
from 2005's "Be", released on GOOD and Geffen



I want to be as free as the spirits of those who left
I'm talking Malcom, Coltrane, my man Yusef


24. MGMT - Time to Pretend
from 2008's "Oracular Spectacular", on Columbia Records



I'm feeling rough, I'm feeling raw, I'm in the prime of my life
Let's make some music, make some money, find some models for wives

23. Wilco - I Am Trying To Break Your Heart
from 2002's "Yankee Hotel Foxtrot", on Nonesuch Records



I am an American aquarium drinker
I assassin down the avenue


22. Tegan and Sara - Call it Off
from 2007's "The Con", released on Sire Records



Maybe I would've been something you'd be good at
Maybe you would've been something I'd be good at


21. Jurassic 5 - A Day at the Races
from 2002's "Power in Numbers", released on Interscope Records



Get ready, for the ride, verbally hand-glide
Write and stay tight, mission's in sight
Murderer worldwide the stage is yo' knife

Titus Andronicus - The Monitor

The one thing I hate about talking to people about music is the introduction. "What kind of music do you like?" My first instinct is to start spouting off artists, but I know that isn't what they want to hear. They're looking for genres. And frankly, I never have had a favorite genre. Maybe not even a favorite sub-genre. But recently, I began to develop an answer to this question. The Best Genre Award goes to "punk bands that rip off Springsteen".

But Titus Andronicus aren't your average Brucepunk band, and they aren't your average hipsters. They don't care much for writing poignant narratives about boys and girls and their artistic endeavors. And lyricist Patrick Stickles isn't the umpteenth incarnation of Jack Kerouac. No, they're far more interested in writing sprawling concept albums about the Civil War.

There'll be no more counting the cars on the Garden State parkway
Nor waiting for the Fung Wah bus to carry me to who-knows-where

That lyric comes from opener "A More Perfect Union", a masterpiece both musically and lyrically, and a serious contender for my favorite song of 2010 so far. I don't like to throw the word "epic" around, especially since its awkward recent integration with real life, pseudo-clever high school kids, but The Monitor is certainly worthy of the prestigious (albeit overused) term. There's a total of two tracks under five minutes long, both of which are little more than battle cries, and fourteen-minute closer "The Battle of Hampton Roads" has a bagpipe solo.

A bagpipe solo.

From start to finish, The Monitor is a mess of stirring sing-a-longs and euphoric celebrations of paranoia, coming together to create what very well might be the best record 2010 currently has to offer. I'd like to think I speak for all fans of the band when I say this... Titus Andronicus forever!

The National - Alligator

The National are so damn boring. I say this in the kindest way possible.

Sorry, National fans, but I don't really think you can deny it. Matt Berninger sounds like he's almost trying to be drab. Not to mention many of these songs sound awfully similar, his dry and languid voice blabbering about wine and late nights on the town. The kind of stuff you'd converse about at upper-class suburban dinner parties.

This isn't to say his voice is completely sleep-inducing; he does give some incredibly inspired vocal performances on "Abel" and "Mr. November", two of the album's finest and catchiest numbers. But on the other tracks, it just lulls along. (See opener "Secret Meeting").

So why is this album so enjoyable?

Actually, let me retract that last statement. It's great if you're in the mood for it. If you just pop Alligator at 6PM on a summer night, you'll get nothing out of it. This is not music for parties, or barbecues, or road trips. Rather, it's music for late nights, regrettable nights, and everything in between. And after a few listens, Berninger's voice is perfectly relaxing, ideal for the kind of music these boys play.

Long live the National. Long live tedious, hipster nightclub music that's flawless in the strangest way possible.