40- How to Dress Well- “Walking This Dumb” (live)
There is some sort of lesson to be learned with this song; maybe not from How to Dress Well, or their producers. Instead from whoever recorded and mixed the live version of “Walking This Dumb” For a band that is so frail and wafty sounding, every aspect of this song seems invasively harsh. Like the depths of your ear drums are being pieced, and its peripheries are being scathed by the violent winds of Tom Krell's voice. His vocals interact with and blurringly blend into the low humming ominous instrumental wail that oscillates throughout the song. Only the higher octave notes are fully realized and acute making the song not entirely perceptible at times. Its ghostly and ghoulish and pretty cool!
39- Broken Bells- “The Ghost Inside”
Did this really come out in 2010? It seems like a distant and hazy memory when recalling the first time I heard “The Ghost Inside”. Apparently it came out in March? That being the case, it goes on the list. Here is a track that works so well because it flies in the face of traditional tonal aesthetics yet it creates something that feels utterly natural. The bass and funk heavy rhythm is nonchalant in how cocky it is. It sort of struts along, brandishing its aloofness for everyone to hear. Yet James Mercer's voice is almost sickeningly falsetto. Its tepid, wispy, something one might dismiss as excessive. Yet when centered within the contrasting beat, it sounds and plays out wonderfully. This overtly strange, just short of alienating keyboard sort of frolics about the tune. The song in what seems to me very specific terms manages to achieve a bold sense of mischief, but has this stalking sense of fear, however slight it may be.
38- Broken Social Scene- “Chase Scene”
At times Broken Social Scene struggles to keep the attention of its listener for the simple reason that they often just lack hooks. There music is often great and at times fantastic, but it is sometimes marred by a nebulous and globular arrangement. This is not the case with “Chase Scene”. It's tight, to the point, precise, and performed with a sense of urgency. As if their time is running out, a context strangely alien to the BSS dynamic, everything is carefully laid out in a linear fashion to insure success in reaching climax. “Chase Scene” is like Broken Social Scene's equivalent of a heist, the scene from Heat, only here everything is executed immaculately. The speed and urgency even seems somewhat foreign to those singing, as the entire piece reveals them to be slightly out of breath, strained even. It adds an additional and remarkable layer of tension, especially as the chorus is a continuous struggle to climb upwards towards some kind of vocal release. BSS in general have grown a good deal more relaxed since their You Forgot it in People days, but “Chase Scene” still proves they can get your, and more reassuringly, their own heart pumping.
37- Cee Lo Green- “Fuck You"
I suppose this had to be on the list somewhere, and while I may not have loved it quite as much as more respectable and entrenched publications, it's still a terrific song. Some of the metaphors are a little forced and juvenile I admit, and I think we can all agree the whining towards the end gets a bit tiresome. But the merits of “Fuck You” more then make up for its caveats. The song in both tone and melody is downright gospel. Cee Lo's energetic and righteous voice and the upbeat harmonious piano instantly create a cathartic sound; which is why its all the more entertaining that its so lyrically loaded with bilious hatred. Cee Lo doesn't try to mask his contempt behind delusions of eloquence or grand designs. It's just, “Fuck you, and Fuck her too”. It's almost offensive in that he derives so much pleasure, and more importantly closure, from being such a dick. But you can't really admonish him too much as the hyperbolic quality of the song really does indicate a sense of recovery. It carries something indisputably genuine at its core, even if it is conveyed in the silliest and most playful of means. If you don't like it, stuff you.
36- No Age- “Life Prowler”
This song deserves recognition for many reasons, mostly because it manages to achieve a confluence of so many disparate elements that seemingly shouldn't go together. The percussion is fracturing and blunt, hammering away at nonexistent barriers. Its, crisp, razor sharp. For all of its rupturing noise, it's strangely hypnotic. But then the guitar kicks in, and seems so sentimental and sympathetic. Maybe that's the trick to it though; by comparison to the drums here, nearly anything would seem to be embedded with meaning and heart. It seems reminiscent of early 90s vanilla punk, only here its not some pathetic attempt at establishing any kind of image. It seems much more genuine here. After a while the drums and the guitar begin to bleed into each other into some sort of hazy molasses. Randy Randall seems to sing in an almost desensitized and damaged way. Words roll out like an assembly line of lyrics, but there are subtle hints of intellect and meaning behind them. It's produced skillfully as his voice is layered on top of itself creating echos and repetitions. It adds a sort of organic confusion to the straight forward sterility of the melody. All of the elements are too polarizing on there own, but together “Life Prowler” seems to be more than the sum of its parts.
35- Hot Chip- “Alley Cats”
This pick was almost “All of the Lights” from Kanye's new album. It's only a 40 song list, and I can't listen to everything. I figured I needed some more variety, so I didn't want two Hot Chip songs. However I was really only begrudgingly adding Kanye because I couldn't think of anything else. To hell with that, I'll go with what I like; and I like “Alley Cats” by Hot Chip. Most experiences with group are very spastic, hi fidelity pop songs. They're full of energetic glitzy hooks and sounds that are enjoyably conducive to movement. On rare occasions they tend to slow themselves down though, however this is usually done to communicate more ominous and disturbing ideas, as in “No Fit State”. If you've ever heard these guys preform “Boy From School” live though, you know there is a heart underneath their flashy and hyperbolic facade. In “Alley Cats” Joe Goddard seems tired and burdened, barley able to sing. Yet even in this slumberous and almost comatose state he proves able to convey a great deal of emotion; angst, regret, nostalgia- it's diverse and dazzling. He really doesn't get the credit he deserves for being one of the best male vocalists around these days. When Alexis Taylor joins in, turning the tune into an echoy duet, it's just candy to the ears- the sugary sweet kind. The beat seems simple and lean but it actually has quite a bit of dense layering. It rises to the occasion as Goddard's voice swells. Now make something we can dance to!
34- M.I.A.- “Born Free”
I may not have been in love with M.I.A.'s latest album, but “Born Free” is a damn fine song nevertheless. It's beat is so grizzled and militant, a particular kind of aggression that she excels in. The increasing ferocity of the snare, the bleak and bluesy base, its alarming and engaging. The first portion of the song is more akin to some sort of spoken word segment, with the distinct audio tone of someone ranting not through a microphone, but a megaphone. It's like she's some totalitarian dictator challenging the other powers of the world in a bold ceremonious speech. She cultivates this type of personality very precisely and to great effect, speaking in terms of grand designs, “You're man made power is built like a tower/ higher, higher, hello”. However part way through, after a cocky “Woo!” she switches gears into a much more playful and amused singer, spitting out words in a frantic staccato kind of procedure. She begins portending to her bleak and uninspiring life to contrast the bombastic character she was just posing as, “Got my self an interview tomorrow”, “My car won't start so I'm stuck here”. Her chorus is triumphant and defiant, centring on a statement that is actually quite profound- “I don't wanna live for tomorrow, I'll push my like today/ I'll throw this in your face when I see you, I got something to say”. M.I.A. Is often more of an observer of the views and values of others, adding a normative analysis to it rather than presenting one her self. It's a bit of a surprise to see her so personally direct, but it works here. M.I.A. has always experimented with dichotomies and mixing together opposites; “Born Free” is one of the better examples of such efforts.
33- Interpol- “Lights”
There's something horribly efficient about Interpol in the way they seem to so non nonchalantly slog there way through their music. Like it's mundane and easy, but it grates at their conscious anyways. This can at times make them a touch more dreary then they need to be. “Lights” seems to be handled with a little a more care than most of their work as of late. The build to a climax is slow, methodical, linear, and subtle- but there is a build up, and there is a climax. Before getting there they do show their talent for hooks, even if being catchy isn't something they are particularly interested in anymore. The deadly serious and bellowing bass and macabre piano seem to emphasize dread and fear. It so engrossing that you might not notice how selectively and careful Paul Banks goes about slowly building from depressing murmurs to monstrous- but still characteristically controlled- wails. He even reaches such heights before the beat does, not only showing a passion he is sometimes missing, but creating a really neat interplay between him and the melody. It ends with this staggering long burn out with Banks just screaming “that's why I hold you... dear”. I'm not sure why he is, but its got me listening.
32- Twin Shadow- “At My Heels”
Twin Shadow's music seems slightly androgynous, which is not to say bland or ill defined. It just doesn't lend itself to easily classification. All you can really say about it is that it's pop, but that is such an obtuse and broad descriptor. Upon closer scrutinization, Twin Shadow takes some of the brooding malaise of 80s new wave, modernizes it in terms of structure and production, while using less flashy and extravagant instruments. George Lewis Jr. sheds the melodramatic overtones of anguish for a more restrained and balanced spectrum of thoughts and emotions. It's like the 80's but you're not embarrassed to still be listening to it. With “At My Heels”, Lewis Jr. seems to mix slightly whimsical pop rock, aided by hazy, haunting sounds, with standard existential references and descriptors; it seems a little inconsequential and standard from the onset. However as the chorus kicks in his voice expands greatly, slightly slowed down but carries much more meaning while avoiding any melodramatic and eye rolling brooding. “There are no keys to my gate, you can still come around”- its a phrase that works so well because it takes obviously challenging and convoluted issues and manages to simplify and and externalize them making it all so approachable. It's kind of like the exact opposite of anthropomorphizing something. This as opposed to meandering through tired and time wasting metaphors as he previously was. As if upon realizing he has discovered how to convey himself properly, he sells the chorus so vigorously and enthusiastically. I wish there was more of it.
31- Grinderman- “Mickey Mouse and the Goodbye Man”
Points will not be afforded to songs for having ridiculous and dumb names. So it's a good thing that this song is just awesome. Nick Cave is a bad ass. Women are impregnated just from listening to him. “Mickey Mouse and the Goodbye Man” is the kind of song they would have listened to in that biker bar where Arnold beat the shit out of everyone if they made Terminator 2 today. The drums are so aggressive to the point of being combative. The guitar is like a chainsaw it's so scathing. Cave exudes a terrifying sense of intimidation, but there in lies the trick of the song. As rough as he seems, it's not himself he is singing about. Compared to the unnamed accomplice, he is just Mickey Mouse; this guy is... Cave doesn't even know. But he sucks women dry, there's posters of him at the airport. Just thinking about him causes Cave and company to feverishly increase tempo and volume. They unleash the full dirty range of their instruments, basking in decadence and grim. It's a dirty, nasty song, catchy as hell, and just the right kind of scary.
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