Saturday, December 31, 2011

Gary's Top 20 Albums of 2011

After 365 days of anticipation, my fifth-annual Albums of the Year list is finally complete.  It is hard to briefly summarize the list, but overall it seems that strangeness and extra effort were handsomely rewarded this year.
As with my Top Songs, each album has a link either to Spotify or Soundcloud for your listening pleasure.  Without further ado, let's start counting backwards from twenty:

20.  Danny Brown – XXX - THE RAW: Detroit’s Danny Brown is pretty difficult to ignore.  His delivery is manic and distinct, his rhymes are wildly entertaining and his beats perfectly parallel Brown’s hyperactivity.  Tyler, The Creator got a lot of buzz this year for a similarly striking album, but Danny Brown should not (and likely will not) be ignored.
KEY TRACKS: “I Will”, “Monopoly”

19.  Cults – Cults - THE SUMMERY:  New York outfit Cults has turned the infectious “Go Outside” into a full-length album of sun-drenched, low-fi indie pop.  Somewhat reminiscent of Best Coast’s Crazy For You, but more dreamy and less surf-rock, Cults is an exciting debut that is the definitive summertime album.
KEY TRACKS: “Go Outside”, “Abducted”

18.  My Morning Jacket – Circuital - THE SOUTHERN FRIED: Evil Urges was MMJ’s previous album, a divisive effort due to the somewhat eclectic and disjoint nature of the songs.  Circuital remains a more cohesive exercise of ever-brilliant southern rock ballads more apropos of the MMJ canon.
KEY TRACKS: “Victory Dance”, “Holdin On To Black Metal”, “Wonderful (The Way I Feel)”

17.  Panda Bear – Tomboy - THE HYMNAL: Tomboy is not nearly as grandiose as the outstanding Person Pitch, but it does feature more bite-sized pieces of filtered, hazy psychedelia and an optimistic hymnal feel, with pick-me-up axioms like “You can count on me”.  With Noah Lennox’s trademark über-reverbed vocals at the forefront, Tomboy is a dazzling exercise in euphoria.
KEY TRACKS: “Slow Motion”, “Last Night at the Jetty”, “Afterburner”

16.  Tyler, The Creator – Goblin - THE DEPRAVED:  Tyler and his rap collective OFWGKTA had a big year in 2011, with Tyler and Frank Ocean releasing critically-acclaimed albums and that outstanding “Yonkers” video making Tyler a household name (and VMA Best New Artist).  Goblin seems caustic upon first listen, with Tyler’s gravelly delivery and abrasive lyricism (see: “Bitch Suck Dick”).  It is not some attention-seeking gimmick, however, which is explained at the end of “Sandwitches”: “We don’t fucking make horrorcore, you fucking idiots. Listen deeper to the music before you put it in a box.”  Delve deeper into the album and the listener finds an emotionally confused, tortured guy pouring it all out to his “psychiatrist”, which turns out to be Tyler grappling with his own conscience throughout Goblin.  It is a concept album that works, keeping the listener invested and excited for the future of Tyler and OFWGKTA.
KEY TRACKS: “Yonkers”, “Sandwitches” (feat. Hodgy Beats), “She” (feat. Frank Ocean)

15.  Radiohead - The King of Limbs - THE SUBTLE:  Radiohead are so universally adored, when they release a new album, it becomes an event.  Their eighth LP was suddenly sprung upon unsuspecting fans, as In Rainbows was four years prior.  What fans got was not instantly gratifying or game-changing.  Instead, The King of Limbs was a subtle and patient record that was not out to overwhelm.  Instead, the eight tracks induce a constant, understated chill and tension absent on In Rainbows.  There are also hints of nature and the environment present: Other than the album title, “Feral” plays to its namesake, conjuring thoughts of a runaway animal.  The King of Limbs is not nearly the best album in the sacred Radiohead catalogue, but it is still rewarding for those willing to put in the time.
KEY TRACKS: “Lotus Flower”, “Give Up The Ghost”

14.  tUnE-yArDs – w h o k i l l - THE ECLECTIC: Everything about w h o k i l l is attention-grabbing, most noticeably the plasticity of Merrill Garbus’s voice from lulling coo to punk-rock yelp.  The music incorporates Afro-pop percussion, folky guitar plucks and horns to create some multilayered music, but it is Garbus’s vocals and lyrics that are always at the forefront and that allow the songs to transcend to the next level.  The greatness of w h o k i l l lies both in its irresistible sound and its dark lyrics about violence.
KEY TRACKS: “Bizness”, “My Country”, “Gangsta”

13.  Gang Gang Dance - Eye Contact - THE EXPERIMENTAL ODDBALLS: There seems to be one of these albums every year that are wrought with experimental electronica and psychedelia that are near-impossible to ignore (see: 2010’s Odd Blood and 2009’s unforgettable Merriweather Post Pavilion).  Because of its strangely hypnotic uniqueness, Eye Contact is 2011’s iteration, by yet another NYC-based experimental troupe.  At a trim seven songs (plus the three “” interludes), each one is stylistically distinct from the next.  “Glass Jar” is a trippy, eleven minute opener that shimmers before erupting, “Adult Goth” is reminiscent of an otherworldly Fever Ray song and “MindKilla” is a surprisingly catchy slice of upbeat bliss.  Overall, Eye Contact is a solidly distinct set of quirky electronica.
KEY TRACKS: “Adult Goth”, “Glass Jar”, “MindKilla”

12.  Atlas Sound – Parallax - THE INTROVERT: While Bradford Cox may have tried to make a distant album following his nervous breakdown, it is also his most accessible and warm album yet.  His vocals are not obscured by haze this time around, and the music is shimmering with a soft fragility and confidence that gives Parallax a strange, dichotomous nature: As enveloping and radiant the songs may be, there is still an unsettling isolation that makes the album even more intriguing and likely Cox’s best solo effort so far.
KEY TRACKS: “Te Amo”, “Modern Aquatic Nightsongs”

11.  Oneohtrix Point Never – Replica - THE ATYPICAL: Replica is the strangest, least accessible album on this list, likely due to the unorthodoxy of the song creation.  Sprinkled with haunting piano throughout, it is the use of an abundance of abnormal samples that makes this ambient album somewhat unusual.  The progression of the album seems eerily natural, as if it is the recording of nature at nighttime.  The centerpiece is the title track, which is laden with somber piano plinks and a whirring buzz that becomes prominent at the strangely beautiful end of the song.  At one moment still and droning and at the next jarring and uncomfortable, Replica rewards patience and open-mindedness.
KEY TRACKS: “Replica”, “Sleep Dealer”

10.  The Black Keys - El Camino - THE HEIR APPARENTS: When The White Stripes disbanded in early 2011, they left a large void in the annals of music in general, specifically critically-adored blues rock.  The Black Keys seem to have solidified their role as the proper heir of that throne with their seventh LP.  A constantly thrilling set of rock ‘n roll with blues, surf and even glam rock influences, El Camino is, at its core, a fun-filled record filled with upbeat riff-driven tracks and an unmistakable swagger.  Very few albums this year demanded repeated spins quite like the ever-enticing El Camino.
KEY TRACKS: “Lonely Boy”, “Gold on theCeiling”, “Little Black Submarines

09.  The Field - Looping State of Mind - THE ENTRANCING: The formula is so painfully simple that Axel Wilner pokes fun of it in the title of his third LP: Loop until its appeal has faded, then change it up, even if it is ever-so-slightly.  Regardless, The Field has mastered the formula and produced another set of captivating minimalistic ambient electronica.  The subtle layers and textures at play here work wonderfully, creating moods out of gorgeous repetition.  Whether it is the delicacy of the piano on “Then It’s White” or the woozy, swirling “Is This Power”, the end result is the same: The songs on Looping State of Mind are evocative without words or typical song structure, making it all the more impressive.
KEY TRACKS: “Is This Power”, “Then It’sWhite

08.  Neon Indian - Era Extraña THE CHILLWAVE: The fringe subgenre chillwave gets a bad reputation, but Neon Indian have expanded upon their initial sound from Psychic Chasms to add a psychedelic haze and ambience to the low-fidelity, 8-bit synth-pop.  The album is also seeping with nostalgia and melancholia, which is excellently demonstrated on “Halogen (I Could Be A Shadow)” and “Arcade Blues”.  The latter’s title perfectly sums up Era Extraña: Glitchy, bummy aural bliss.
KEY TRACKS: “Polish Girl”, “Arcade Blues”, “Halogen (I Could Be A Shadow)”

07.  Girls - Father,Son, Holy Ghost - THE TIMELESS:  Like 2009’s Album, Girls’ follow-up album is chock-full of polished rock ‘n roll that could easily be mistaken for a relic from decades ago.  Its influences range from surf rock on opener “Honey Bunny” to the heavy metal-aping of “Die”.  However, Father, Son, Holy Ghost consistently makes a living by borrowing heavily from gradualism classic rock of the late ‘60s and ‘70s, as best demonstrated on the standout slow-burners “Vomit” and “Forgiveness”.  Despite its unabashed borrowing from the past, Girls somehow create a powerful album that is undeniably fresh.
KEY TRACKS: “Vomit”, “Die”, “Forgiveness”

06.  Jay-Z & Kanye West - Watch TheThrone - THE OPULENT: ­ The two biggest names in hip hop team up to produce a celebratory lap for the 1%.  On paper, that has potentially disastrous results.  On record, it is a delightfully enjoyable and decadent ride.  With overpriced samples (Otis Redding’s “Try A Little Tenderness” on the irresistible “Otis”), capital-A-list guest stars (Beyoncé makes “Lift Off” soar) and countless lavish namedrops, Jay and ‘Ye consistently remind the listener that, yeah, they make more money than you do.  They also rap better than you do. Hov is the best he has been in years and Kanye is still in peak form from My Beautiful Dark Twisted Fantasy.  Or, to put it into their words, “What more can I say? / We killin’ ‘em.”  Watch The Throne is escapism rap done wonderfully well.
KEY TRACKS: “Niggas In Paris”, “Otis”, “No Church In The Wild”

05.  The Weeknd - House of Balloons - THE SEDUCTIVE:  Where the hell did The Weeknd come from? At the end of 2010, a few of his tracks were just made available via YouTube.  One year later, he has self-released a trilogy of great mixtapes, his identity as Abel Tesfaye has been revealed, and he has been linked with fellow Canadian crooner Drake (both on the Thursday cut “The Zone” and the Take Care standout “Crew Love).  It all began with House of Balloons, arguably the best of the three mixtapes.  Balloons defined The Weeknd’s sound as seductive, syrupy R&B, driven by Tesfaye’s distinct high-pitched delivery about sex and drugs.  The whole album plays like the perfect soundtrack to a late-night, drug-addled party.  All in all, there is a brooding sense of realness that separates The Weeknd from his contemporaries, making him one of the most exciting new artists of the year.
KEY TRACKS: “High For This”, “House of Balloons”, “The Morning”

04.  Destroyer – Kaputt - THE RETRO:  On the surface, Kaputt can sound like cheesy ‘80s adult contemporary or soft rock, musicianship not usually held in the highest regard. However, Dan Bejar essentially turns this initially cheeseball subgenre into something much more endearing.  Bejar counteracts the breezy strings and horns with at-times dark lyrics delivered oh-so-casually.  It is an unlikely combination that works to perfection throughout Kaputt, creating a retro/disco-tinged blithe dreamscape from opener “Chinatown” to the eleven-minute sprawling closer “Bay of Pigs”.  As introspective as it is expansive, Kaputt is a warm, beautiful trip from beginning to end.
KEY TRACKS: “Chinatown”, “Bay of Pigs”, “Kaputt”

03. Drake - Take Care - THE TRAILBLAZER:  Last year, Kanye West pushed the typical boundaries of a hip hop album to overwhelming success.  This year, Drake raised the stakes by creating an album that deftly incorporates hip hop, R&B and pop into a refreshing sound.  Singles “Headlines” and the Nicki Minaj-aided “Make Me Proud” are great, upbeat radio songs and “Lord Knows” is brimming with bombast (thanks to the soulful, choral backing) and swagger (thanks to Rick Ross).  However, the true greatness of Take Care lies in its sparser, more minimalistic moments.  Case in point: “Marvins Room” is uncomfortably still, exposing the raw emotionality as the listener eavesdrops on a Drake drunk dial.  Take Care covers a lot of bases, but does them all well.
KEY TRACKS: “Marvins Room”, “Take Care”, “Crew Love” (feat. The Weeknd)

02.  Bon Iver - Bon Iver - THE EVOCATIVE:  No album this year was quite as evocative from front to back as Justin Vernon’s excellent sophomore LP.  Between the delicate yet intricate layering of the instrumentation and Vernon’s trademark fragile falsetto, every moment of Bon Iver is powerful and moving, conjuring distant memories and painful yearning.  From the slow, subtle build-up of “Perth” to the poignant reminiscences of ‘80s soft rock closer “Beth/Rest”, Bon Iver is a brilliant expansion of Vernon’s initially introverted folk rock to a richer, larger and more masterful expression of emotion.
KEY TRACKS: “Calgary”, “Holocene”, “Perth”

01.  M83 - HurryUp, We’re Dreaming. - THE EPIC: The “epic” descriptor gets sprinkled liberally into an excessive number of album reviews, but no album fulfilled or redefined its qualifications quite like Hurry Up, We’re Dreaming.  Anthony Gonzalez continues his winning streak by blending the ‘80s synth-pop of Saturdays = Youth with his more ambient earlier works.  The result is a near-flawless double album that could fill a stadium or one’s headphones.  The album title succinctly sums up the listening experience: Lucidity with striking immediacy.  This striking dichotomy is best illustrated by “Intro” and “Midnight City”, which seamlessly segues between woozy dreamscape and huge, brimming electro-pop (and those irresistible saxophones).  It is decidedly difficult to determine the ranking of Hurry Up, We’re Dreaming within the prestigious M83 canon, but its ranking amongst peers thrusts it into a stratosphere by itself.
KEY TRACKS: “Midnight City”, “Intro” (feat. Zola Jesus), “New Map”

For the third consecutive year, my top song and album have been occupied by the same artist: In 2009, it was Animal Collective's "My Girls" and Merriweather Post Pavilion and last year it was LCD Soundsystem's "All I Want" and This Is Happening.

This closes the book on music in 2011. I know I missed some great albums this year that will hopefully get some spillover love into 2012. Last year, I mentioned that Das Racist and Ariel Pink's Haunted Graffiti would get said treatment, and they did.  This year, I plan on giving Toro y Moi's Underneath The Pine and St. Vincent's Strange Mercy some love.

Have a lovely New Year's Eve and Day, and here's to hoping that The Avalanches get their shit together and finally release their new album in 2012.

Tuesday, December 27, 2011

Gary's Top 50 Songs of 2011

 Yet another calendar year is imminently concluding, and as always, the perfect sendoff is a meticulously crafted, seemingly arbitrary list of songs from said calendar year!  This may have been the most difficult year-end song list I’ve compiled, as I had to eliminate some very worthy songs.  Also, certain songs just seemed like they were better than their ranking.  Alas, the list is final.  No refunds.

For the first time, with the wonders of “technology”, I am able to pass along this countdown as an almost-full-fledged playlist. Click here and enjoy 45 of the 50 songs fo’ free, courtesy of Spotify, which will soon replace whatever shitty music player you currently utilize.  The five songs not available via Spotify have YouTube videos linked next to them (Danny Brown, Mr. Muthafuckin' eXquire, the two The Weeknd songs and Coldplay).  Because God forbid you didn’t hear Mr. Muthafuckin’ eXquire, et al.

50. “Mr. Saxobeat” by Alexandra Stan
49. “Amor Fati” by Washed Out

48. “I Will” by Danny Brown (vide0)
47. “L Y F” by WU LYF
46. “Helena Beat” by Foster the People
45. “Countdown” by Beyoncé
44. “Will Do” by TV on the Radio
43. “Civilization” by Justice
42. “Holdin On To Black Metal” by My Morning Jacket
41. “The Last Huzzah” by Mr. Muthafuckin’ eXquire featuring Despot, Das Racist, Danny Brown and El-P (video)

40. “Curl of the Burl” by Mastodon
39. “Die” by Girls
38. “Make Some Noise” by Beastie Boys
37. “Sail” by AWOLNATION
36. “Don’t Sit Down ‘Cause I’ve Moved Your Chair” by Arctic Monkeys
35. “Jack Sparrow” by The Lonely Island featuring Michael Bolton
34. “Tokyo (Vampires & Wolves)” by The Wombats
33. “Lonely Star” by The Weeknd (video)
32. “Polymers Are Forever” by Future of the Left
31. “Michael Jackson” by Das Racist

30. “Take Care” by Drake featuring Rihanna
29. “Trembling Hands” by Explosions in the Sky
28. “6 Foot 7 Foot” by Lil Wayne featuring Cory Gunz
27. “Super Bass” by Nicki Minaj
26. “Go Outside” by Cults
25. “Paradise” by Coldplay (video)
24. “Otis” by Jay-Z & Kanye West
23. “Replica” by Oneohtrix Point Never
22. “Bizness” by tUnE-yArDs
21. “We Found Love” by Rihanna featuring Calvin Harris

20. “Adult Goth” by Gang Gang Dance
19. “Polish Girl” by Neon Indian
18. “Lonely Boy” by The Black Keys
17. “Slow Motion” by Panda Bear
16. “Perth” by Bon Iver
15. “Don’t Move” by Phantogram
14. “Vomit” by Girls
13. “Need You Now” by Cut Copy
12. “Ice Cream” by Battles featuring Matias Aguayo
11. “Chinatown” by Destroyer

10. “High For This” by The Weeknd (video)

09. “Marvins Room” by Drake

08. “Holocene” by Bon Iver

07. “Street Halo” by Burial

06. “Yonkers” by Tyler, The Creator

05. “Niggas In Paris” by Jay-Z & Kanye West

04. “Lotus Flower” by Radiohead

03. “Calgary” by Bon Iver

02. “Intro” by M83 featuring Zola Jesus
01. “Midnight City” by M83

Yes, M83 at #2
and #1, which comprise the best nine-plus consecutive minutes in music this year.  Thanks for showing up everybody else, but it really was not close.  Nothing quite matched the grandiosity and evocative nature of those two songs back-to-back, although Bon Iver certainly was close, logging three entries in the Top 20.
Fear not: The year would not be complete without my laborious rundown of my favorite albums, which will be posted before year’s end.  Until then, rock the shit out of that Spotify playlist.

Monday, June 13, 2011

My Top 12 Songs of All-Time...Right Now: #1

"Paranoid Android"
Single from the album OK Computer
Single release date: May 26, 1997
Rolling Stone's 500 Greatest Songs of All-Time: 256
Pitchfork's Top 200 Tracks of the '90s: 4

It has come to this. Eleven entries and almost four weeks in the making, we do not arrive at the greatest song that has ever been recorded in the history of music. Such hyperbole is ridiculous, knock it off. Rather, after eleven songs of varying age, genre and influence, we have one song and band that may most accurately be described as “my favorite.”

In 2006, on a whim mostly after hearing about their critical acclaim, I went and bought all of the full-length Radiohead albums. That one sentence intrigues me. At a time when buying albums was still the norm for me, I bought a band’s discography without knowing much more than they were supposedly awesome. I listened intently, trying not to become a victim of confirmation bias: Just because these were universally adored albums did not mean I would necessarily love them, too. Naturally, though, I did. Each album was filled with memorable songs and lines, and one album was stylistically distinct from the next. I was in love. I had never been exposed to such music before. Up until this point, I mostly relied on the few local rock radio stations for exposure to new bands. While one is consistently great (WEQX, which actually plays a decent amount of Radiohead and lots of alternative and indie rock), the others were littered with the modern rock schlock that I have grown to despise (the Nickelbacks, the Salivas, the Seethers). Rather quickly, I turned to the internet to unearth other great music on my own, and have not looked back. In essence, Radiohead single-handedly changed how I view and obtain music, as they have entrenched themselves as my gold standard for five years and counting.

Their library is filled with more outstanding albums and standout tracks than any other artist on this list, but “Paranoid Android” has stood above the rest, since day one, as my go-to example of Radiohead’s excellence. First off, the timing and structure were unlike anything previously in the Radiohead canon (and even since its release, only “Supercollider” clocks in as a longer release). It clocked in at over six minutes and featured distinct musical movements, much like Queen’s classic “Bohemian Rhapsody”, a song to which “Paranoid Android” was often compared initially. A standout on the decade-defining OK Computer, it encapsulated all of the themes that the album extolled: Paranoia, uncertainty, insanity. It also represents one of the earliest predictors of Radiohead’s musical range, as it expertly melds their previously-refined acoustic and traditional rock elements with their newly-fashioned electronic experimentation. The first two minutes are chilling and eerie, especially as Thom Yorke wonders “What’s that?” with that guitar lick looming in the background. The second part soon kicks in, which harkens back to a more traditional rock aesthetic. 2:45 is one of my favorite climaxes and solos in a Radiohead song, definitely showcasing that they can rock out with the best of them. Then, suddenly, we witness a slowdown. It is a rather beautiful movement, with the melodic vocal background and Yorke crying “Rain down on me!” As this continues, Yorke sings a few more lines until the memorable last line: “God loves his children, yeah”, which is immediately followed by another rock-out ending, with distorted vocals and guitars until completion. It is a rollercoaster of a song with a lot going on, but it all flows fluidly and excellently to create an evocative experience, even after a hundred listens.

On a personal level, the idea of being the titular paranoid android resonated with me, especially upon first listens. It is in human nature to be unnecessarily paranoid about certain things, but the robotic declaration “I may be paranoid, but not an android” sums it all up: I may worry about things, but it is on my volition and by my own thinking.

Every song on this countdown has held some significance since first hearing it. Most were gateways into the rest of the artist’s expansive discography, and all of them have impacted my overall music taste to certain degrees. However, no song (or artist) has had as much of an influence as “Paranoid Android” by Radiohead, single-handedly pulling me from the depths of modern rock mediocrity and into the realm of great music and talent. I always wondered what I might say if I ever had the unlikely circumstance of meeting Thom Yorke. I am certain that I would fall prey to being starstruck, but after recovering, perhaps I would begin by simply saying: “Thank you.”

Tuesday, June 7, 2011

My Top 12 Songs of All-Time...Right Now: #2

LCD Soundsystem
"All My Friends"
Single from the album Sound of Silver
Single release date: May 28, 2007
Pitchfork's Top 500 Tracks of the 2000s: 2
Rolling Stone's Top Songs of the 2000s: 41

Getting old sucks. I have determined that once you turn twenty-one, having a birthday is no longer necessary, beginning the inevitable slippery slope. “That’s how it starts.”

James Murphy, through LCD Soundsystem, has released plenty of great songs (shit, they’re all great), and it sincerely saddens me to think that there will be no more new music from the recently disbanded powerhouse. On the bright side, the legacy that they have left behind is substantial and something great, and their back catalogue is chock-full of classics. Also, they left on a high note…you know, before they lost their edge. Still, I humbly decide “All My Friends” as their best, perfectly-crafted song.

“All My Friends” starts with those unforgiving, discordant piano plinks that become the backbone of this masterpiece. The rapid percussion kicks in, followed by that beautiful barnburner of a guitar riff. Once all coalesced, it never ceases for seven minutes of musical euphoria. Throughout the song, it is Murphy’s spot-on lyrics and delivery that do the rest of the work. He shows that, yes, he can sing, and sing well and really pull at the heartstrings while doing it.

Although not quite at the crossroads that Murphy alludes to in the song, the heartfelt confessions hit closer to home for me now more than ever. As a recent college graduate, all of the crazy bullshit that was had with great friends is now mostly a remnant of the past as a set of unforgettable memories. These types of memories are interspersed in the narrative of “All My Friends”, as he reminisces about, among other things, staying up late and doing drugs with his friends. It is hard not to consider this song extremely melancholic in this sense, both in its overall sound and the fact that these fond memories are no longer a reality. Nearing the cathartic climax of the song, Murphy rattles off some inevitabilities of life now: “When you’re drunk and the kids leave impossible tasks / You think over and over, ‘Hey, I’m finally dead’”. Then, he repeatedly belts out with all of his might the question “Where are your friends tonight?” and the simple plea “If I could see all my friends tonight.” Many artists employ some type of climactic nature in their music, but no song brings me as close to tears as “All My Friends” does every single time I hear it. That right there is powerful shit.

I was beyond lucky to be able to see LCD Soundsystem at their last show at Terminal 5 this past March, especially after the scalper fiasco and the unprecedented rapidity of ticket sales for the new shows. Murphy and Co. put on a hell of a show, playing most of their catalogue to a dedicated group of fans. Their set list could be divvied up into thirds, and “All My Friends” concluded the first third. Because of its evocative nature, I would have preferred it to be one of the last songs played of the night. However, as soon as it played, it became a moot point as I realized I was being treated to a live version of one of my favorite songs ever. The level of intensity of the impact of the song increased exponentially when witnessed live, and it became a brief moment of nirvana for me. I was definitely bummed when The White Stripes disbanded this year, but I legitimately have been in mourning for the end of LCD Soundsystem. To think: All of this powerful language over some music. All I want is another hit from them! (OK, I’mLink done.)

Full Version of Song

Music Video (Shortened Version of Song)