Live: The For Carnation

When: 12/17
Where: Knitting Factory

Mountains openned the show last night. They play ambient, instrumental noise-folk with acoustic guitars and crap ton of electronics. At first, I enjoyed the rise and fall, the noisy dissonance and the sheer volume. However, with no melodies, no rhythms and no real surprises, I got pretty bored and left after ten minutes. [MySpace]

I came back just in time for The For Carnation, the band of ex-Slint/Squirrel Bait experimental rock genius Brian McMahan. Squirrel Bait's hardcore punk forshadowed Nirvana-style grunge back in the 80's. By the time Nirvana started changing in the indie scene, McMahan had moved on to the highly experimental, angular, sends-chill-down-your-spine music of Slint, helping spark (for better or worse) the post-rock movement.

After Slint, McMahan formed TFC and began creating much more subdued, gentle music. That may sound like a terrible direction, but it isn't always bad. When TFC is at its best, it has the same disturbing tension of Slint, but without ever providing release - the music just retreats further into its own sinister mystery. Unfortunately, TFC hasn't been that consistent - in fact, there's so much variation, I have to give you a song-by-song review.

Songs #1, 4 and 8 were TFC at its best. Minimal, desolate pieces with hints of jumpiness, these represent the logical sound of grown-up Slint. Song #7 was similar but got a little dreamer and sweeter in places. But still, something unsettling was lurking beneath the surface.

Song #2 was a bluesy number with an almost avant-garde guitar solo. Not my favorite.

Song #3 was folky and featured McMahan's lyrics sticking way out in front. They were about finding stuff in your house that reminds you of your long-gone wife. It would be banal even if it weren't cliche.

Song #5 sounded like Yo La Tengo being extra chilled out. Yawn.

Song #6, I've just forgotten.

The hit-and-miss set was made worse by McMahan's choice in bandmates. Certainly, with his reputation, he could put together a good band, right? But instead he's playing with these guys. The bass player seemed pretty solid and did a lot of strumming very well, which isn't easy to make sound good. Because of the style of music, I couldn't figure out the guitarist's skill level, but at least he didn't do anything offensive.

The real problems were the synth player and the drummer. The synth occasionally worked, but at other times, it stuck out like a sore thumb. It basically destroyed the last song (#8, which otherwise was great). Holding down the root in a hyper-oscillated, slow-attack setting just distracted from the music. Maybe if I didn't know about synthisizers, it wouldn't have bothered me so much, but I just kept imagining what was going through the keyboardist's (or songwriter's) head when he thought that'd be really cool. I love me a good slow attack, but because the sound itself was so stark, fading in on every note just drew attention away from the song itself.

And worst of all, the drummer! Brian McMahan, why are you playing with this guy? The dude is awful, seriously awful. Okay, I have a hang-up about playing cymbals with timpani mallets because it sounds like crap. You don't have to be a trained percussionist to listen to something and realize it sounds terrible. Even when he hit the cymbals with real drumsticks, they sounded bad. The toms also sounded like shit, and he abused his hi-hat in a way I haven't seen since high school (i.e. using it as a crash cymbal). I know I sound like a snob, but this isn't about following arbitrary rules, it's about making the instrument sound good.

His beats were also pretty lame, though not as bad as his tone. He wasn't the world's steadiest, but I only heard him screw up the beat badly once. As a time-keeper, he was perfectly adequate, but there were so many missed opportunities for better beats and fills. Sadly, his failings distracted me from the music and cost me a lot of enjoyment.

McMahan, on the other hand, is great. He's been in music long enough that he seems semi-comfortable singing, but still delivers a lot of his vocals in vaguely tuneful spoken monologues. I've never heard anyone pull this off but him, and he still does it, just like he did with Slint. His voice is simple and soft and his manner of speaking renders the songs even more uneasy. With Slint, he established himself as an enigmatic, haunted figure, and with TFC, when they're good, he's only buried himself deeper in his psychological darkness. He's still the real thing. [Fan MySpace]

[Note: I accidentally spelled Brian McMahan's last name "McMahon." It's been corrected now. Brian McMahon was a guitarist in the Electric Eels, also an amazing but obscure experimental musician from the heartland, but definitely a different dude.]

Upcoming Shows: The For Carnation, Fiasco + more

[Upcoming Shows Playlist]
TONIGHT!!! Tuesday, December 15

The Antlers + Sharon van Etten @ Bowery Ballroom | LES, Manhattan | SOLD OUT!
The Antlers are a very sad trio who make very noisy ambient songs about abuse and loss. Their 2009 album is easily one of the best of the decade. Comparisons to Radiohead, Arcade Fire and Neutral Milk Hotel are in order. [MySpace]

Cold Cave, Small Black @ Music Hall of Williamsburg | Williamsburg, Brooklyn | FREE!
Since the above show is sold out, try this one. It's free with RSVP, which it's apparently not too late to do (click here). All they ask is your e-mail address so they can stalk you and bombard you with liquor adverts for the rest of your life. But, um, it's free! Cold Cave is awesome, playing despondent electronic music really loudly. Small Black is pretty good too, also using the synthesizers. Check it! [CC MySpace] [SB MySpace]


TOMORROW! Wednesday, December 16

Raekwon @ The Fillmore | Union Square-ish, Manhattan | $23 adv. / $27 dos.
Raekwon is one of the best MCs of the Wu Tang Clan. His long-awaited album Only Built 4 Cuban Linx II is one of the best hip-hop albums of the year. His cool delivery sets him apart from most hardcore rappers, but he's as hardcore as any of them.


Thursday, December 17

The For Carnation @ Knitting Factory | Williamsburg, Brooklyn | $15
I AM SO EXCITED ABOUT THIS SHOW!!! The For Carnation is the band of Brian McMahon, ex-Slint and Squirrel Bait. McMahon brought us two of the most original and important bands of the late 80's/early 90's and you should go see him play (even though it's a little expensive).

Big Troubles @ Cake Shop | LES, Manhattan | $7
Big Troubles just played my showcase on December 4. They are a newish band from New Jersey who aren't too cool to admit they like the Smashing Pumpkins and who play REALLY REALLY LOUDLY. Highly recommended, but for that it means missing The For Carnation. [MySpace]

Pterodactyl @ Cameo | Williamsburg, Brooklyn
Pterodactyl are one of the most innovative bands in the NYC scene right now. Their music is fast and complex but melodic, and their live show is outstanding. But you should still go see The For Carnation instead. [MySpace]


Friday, December 18

Fiasco @ Death By Audio | Williamsburg, Brooklyn
Fiasco are an awesome hardcore/post-hardcore band. They are really young, but they are really great at their instruments and perhaps it's their youth that prevents their punk/speed metal from getting to big a metal:punk ratio. They are one of the best bands I've heard live recently. [MySpace]


Saturday, December 19

False Prophets @ ABC No Rio | LES, Manhattan
MATINEE! Classic hardcore punk.

Eric Bachmann (ex-Archers of Loaf) @ Mercury Lounge | LES, Manhattan | $12
Eric Bachmann was in Archers of Loaf, which means he's a hero to everyone who ever loved 90's indie rock.


Monday, December 21

Nymphets @ Mercury Lounge | LES, Manhattan | $8
The Nyphets are a minimal poppy DIY punk lo-fi garage [insert adjectives and genres here] band. They are a good time. [MySpace]


Tuesday, December 22

Whatever... Holiday Party: True Womanhood, Drink Up Buttercup + more @ Glasslands | Williamsburg, Brooklyn
My new friends at the "Whatever..." blog are having a little party with - of course - awesome bands playing. True Womanhood are creepy, experimental, ambient-inspired rock and Drink Up Buttercup are more straight-forward indie rock. Both are good! [TW MySpace] [DUB MySpace]

[Upcoming Shows Playlist]
The long view...

December
23
Fiasco, Shapes @ Shea Stadium

29-30
Patti Smith @ Bowery Ballroom (Sold Out)

31
Titus Andronicus + So So Glos @ Mercury Lounge
Patti Smith @ Bowery Ballroom(Sold Out)

January 2010
2
Mattress @ Death By Audio

13
The Drums + Surfer Blood, Depreciation Guild @ Music Hall of Williamsburg

15
Gang Gang Dance, DJ/Rupture @ Music Hall of Williamsburg

16
Dinosaur Jr @ Bowery Ballroom (Sold Out)

17
Dinosaur Jr @ Music Hall of Williamsburg

25
Cheap Trick @ The Fillmore

29
Sounds Like Brooklyn: Les Savy Fav, Vivian Girls (yick) @ Brooklyn Academy of Music
Mission of Burma @ Bowery Ballroom

30
Mission of Burma @ Bowery Ballroom

February
3
Atlas Sound @ Bell House

4
Cold Cave @ Mercury Lounge

5
Sounds Like Brooklyn: Ra Ra Riot, the Antlers @ Brooklyn Academy of Music

6
Don Giovanni showcase: Shellshag, Screaming Females, Jeff the Brotherhood + more @ Bowery Ballroom

9
The Residents @ Webster Hall

13
The Magnetic Fields @ Brooklyn Academy of Music

19
Fucked Up @ Europa
Andrew W-K @ Santos Party House

March
5
Muse, the Silversun Pickups @ Madison Square Garden

12-13
Henry Rollins @ The Fillmore

[Upcoming Shows Playlist]

Upcoming Shows: Sonic Youth, the Pixies + more

[Upcoming Shows Playlist]
TONIGHT! Wednesday, November 18

Big Star @ Brooklyn Masonic Temple | Fort Greene, Brooklyn | SOLD OUT!
If you don't already have tickets to this, you're unlikely to find anything. It looks like upwards of 95% of the posts are craigslist are "tickets wanted." So I put this here mostly to cheer you (ok, myself) up - Big Star, though one of the greatest bands of all time, is really just 60-year-old Alex Chilton. Co-leader Chris Bell died over three decades ago and bassist Andy Hummel (who wrote a song or two, I think) is not involved. Jody Stephens is still on drums, but frankly, who has even noticed him back there? On the other hand, if you have tickets, AWESOME. One of the best bands of ever.

Papa M @ Knitting Factory | Williamsburg, Brooklyn | $12
Papa M is David Pajo, who probably has the most impressive resume of anyone from the late 80's/early 90's hardcore/post-hardcore/math-rock/post-rock/experimental scene (tied with former classmate David Grubbs). A member of Slint, Tortoise, the For Carnation and Dead Child (and less impressively, Zwan), Pajo has also played with Stereolab, the Yeah Yeah Yeahs, Will Oldham (Bonnie "Prince" Billy) and others. I don't think any of that means anything to non-indie-geeks, or even indie geeks who aren't pretty old school. But what it all adds up to is that Pajo is one of the most highly respected and influential guitarists of American indie rock's golden age. His style of playing is eerie, dark and distant, with unsettling rhythmic irregularities. It's experimental and sometimes very minimal, but an educated listener will pick up on the sound's faraway roots in hardcore punk. You know what, forget all that, it's just fucking weird, good music. Go see it. [MySpace]


Thursday, November 19

True Womanhood @ Cameo Gallery | Williamsburg, Brooklyn
True Womanhood sound eerie and rhythmically complex like Radiohead. The bass is slammin, the drums are fascinating and the guitar is off in outerspace making noises that could give you bad dreams. [MySpace]


Saturday, November 21

The Beets, She Keeps Bees @ Death By Audio | Williamsburg, Brooklyn
The Beets are a much-beloved garage back band. She Keeps Bees are a blues band disguised as an indie rock band. They both write good songs. You will like both of them. [Beats MySpace] [SKB MySpace]


Sunday, November 22

Talib Kweli @ Brooklyn Bowl | Williamsburg, Brooklyn | $10
Talib Kweli is one of the most universally respected rappers on the planet. His music is smart and thoughtful, but hardhitting. This show costs $10. What's the catch?? [MySpace]


Monday, November 23

The Pixies @ Hammerstein Ballroom | Midtown, Manhattan | $48
The Pixies are performing their classic album Doolittle a bunch of nights in a row. Personally, I wouldn't pay $50 for this, but I've already heard them play all of Doolittle live (except for, by lucky chance, the few songs on the album I don't like), plus at least half of Surfer Rosa and the best from Bossanova and Trompe Le Monde, all on one glorious night at the Pixies birthplace, the University of Massachusetts. What I'm trying to say is, this is a lot of money, Doolittle is a short album, and you'll have other chances to hear the band. However, this is about the experience of hearing Doolittle live, so if you happen to have an extra $50 lying around, it would be well enough spent on this. If not, don't cry, the Pixies don't seem to be ending their reunion any time soon. Oh, if you don't know who the Pixies are, they are one of the most important indie rock bands of the late 80's and early 90's and influenced the hell out of everyone, like Nirvana and Weezer. They basically play the kind of pop songs you'd expect a mental patient to write. Which is pretty much what they are. HOTT.


Tuesday, November 24

Sonic Youth @ Music Hall of Williamsburg | Williamsburg, Broklyn | SOLD OUT!
I'm pretty sure Dino Jr and Cold Cave were on this bill when I bought my ticket, and now it's just Talk Normal, who are weird hyper-experimental stuff that's good but no Dino Jr. Anyway, the point is that it's Sonic Youth, the band that brought art rock and noise to millions. One of the most improbable stories in rock history, Sonic Youth's odd, discordant guitar noise and abrasive, abstract vocals got them signed to a major label for two decades of their three-decade career. After returning to the indie world earlier this year, Sonic Youth are still going strong, still pushing boundaries and rocking out hard on stage, just with grayer hair. Thurston Moore still seems like a lanky, hyperactive kid. Yeahhhh.

The Pixies at Hammerstein Ballroom | Midtown, Manhattan | $48
Same deal. (No pun intended!)

[Upcoming Shows Playlist]
The long view...

November
25
Meat Puppets @ Bowery Ballroom
Screaming Females @ Bellhouse
The Pixies @ Hammerstein Ballroom
Sonic Youth @ Music Hall of Williamsburg
what a night!!!

27
Fuck Buttons + Growing @ Market Hotel


December
2
The Mountain Goats @ Bell House

3
Wye Oak @ Bell House

4
Radio Flyer Review presents Shellshag, Sisters, Big Troubles & the Sundelles @ Monster Island Basement!!!!!!

13
Blank Dogs + Silk Flowers @ Monster Island Basement

14
The Slits + Sisters @ Highline Ballroom

17
The For Carnation @ Knitting Factory

[Upcoming Shows Playlist]

Dust It Off: A Minor Forest - Inindependence

Album: Inindependence
Thrill Jockey, 1998

I know I'm prone to a lot of nostalgic comments about really obscure math rock bands from the early 90's. And it's time to tell you about one of those bands in more detail!

Math rock is a pretty narrow little genre in indie rock, mostly inspired by Slint, whose masterpiece, Spiderland, was the subject of a previous "Dust It Off." It involves complex, changing time signatures and rhythms, little to no vocal melody and extreme loud-soft contrast. Math rock songs rarely follow conventional song structures; they are more often winding compositions drawing from classical, jazz and prog influences. The genre embraces dissonance, distortion and sheer volume.

OK, enough of that! A Minor Forest are a little-known math rock band (as if there was any other kind!) from San Francisco, far-removed from the Louisville scene that gave rise to their main influences. But musically, they aren't such outliers. No, they didn't invent much new or revolutionize music. What they did was simply to hone a style, put their own little stamps on it and then play it better than pretty much anyone since Slint.

Inindependence is the closest thing to a proper release the band ever had, even if it wasn't out until the very time the band called it quits. Only seven songs long, at times it feels like an extended EP, but due to a twenty minute song in the middle, it runs to nearly an hour.

Though not an instrumental band, AMF puts little emphasis on singing. There are some good melodies, but there's just as much yelling and even more without vocals at all. I know that sounds boring, but it's not - the guitars are crisp and heavy, the drums tight and intense. The songs jolt between hushed beauty and discordant freak-outs with no warning - when they're nice, they're very, very nice, but when they're nasty, they're nasty.

It's an indirect album that's best heard while your mind wanders - too much concentration and you'll be frustrated with the lack of structure, but if you're patient, moments of stunning beauty will surface, one after another. From the satisfying crash at the close of "Erik's Budding Romance" to the swelling soundscapes of "Discoier," there are amazing parts around every corner.

The album's finest moment may be the massive dissonance supporting the vocal melody about two and a half minutes into "...It's Salmon!!!" But it's hard to pick - unlike math rock's offspring "post rock," AMF isn't afraid to blast your eardrums at full force when the time is right, and the perpetual contrasts (harmony-dissonance, loud-soft, syncocopated-steady) keep it interesting. Unlike later Slint-imitators like Mogwai (ughhhhh), AMF has control over their use of contrast, taking it just far enough, while keeping beats and melodies going. Well, that and they have balls.

Though maybe not for everyone, Inindependence is a remarkable accomplishment and remains one of the best albums of its genre.

Dust It Off: Slint - Spiderland

Album: Spiderland
Touch & Go, 1991

Among indie rock geeks, Spiderland is far from obscure, but I've been surprised a number of times recently by musically literate people who have simply never heard of Slint. Here's what you should know: Slint was the first and best of the "math rock" bands, a genre known for changing time-signatures, angular guitars, dynamic contrast and complex composition. It was also essential in kicking off "post rock," making way for bands like Godspeed You! Black Emperor, Sigur Ros and Mogwai.

Spiderland, Slint's haunting masterpiece, has only six songs, each of them telling a different dark story. Brian McMahon's vocals are mostly spoken or screamed (though at times inadvertently tunefully), allegedly because he was too insecure to sing them. This delivery would be annoying in most contexts, but here, it's extremely powerful - McMahon simply lays the dark corners of his mind bare for his audience, without hiding behind a forced melody or song structure. Spiderland is a window into a deeply damaged psyche and its immediacy is startling and deeply unsettling.

Unlike many later post rock bands, Slint never used electronics or orchestral noise, instead focusing on traditional rock-band palette of electric guitar, bass and drums. This makes the music heavy-hitting and aggressive, an effect enhanced by the band's technique of dropping everything to a haunting whisper before slamming more out at top volume. Meanwhile, though the structures borrow more from prog rock than pop, they are clearly conceived with great care, each providing a new alien landscape against which McMahon's stories unfold.

Rumor has it that members of Slint were in and out of mental institutions throughout the recording of Spiderland, and whether or not that's true, Spiderland is one of the most anguished, painful records ever made. "Breadcrumb Trail" tells a story of an innocent romance with a fortune-teller, but the tale is shrouded in ominous details, while "Don, Aman" seems to be a harrowing if enigmatic account of mental illness.

Most chilling of all is the closer, "Good Morning, Captain." Based loosely on Coleridge's "Rime of an Ancient Mariner," the song tells the story the sole survivor of a shipwreck, an old sailor shunned when he seeks help or even witness on shore. Near the end of the song, however, McMahon seems to break down and instead of finishing the narrative, he just starts screaming "I miss you" over and over at the top of his voice until the album's close.

It's a staggering work that sounds like nothing before or since. Musically, it is a pivotal experiment in the use of changing time signatures and contrast dynamics. Emotionally, it protrays agony, horror and dispair with unsurpassed intensity. A landmark album in indie rock, Spiderland should be required listening for everyone.

Radio Flyer's Recommendations for Valentine's Day Blues

Hi everyone,

Sorry if you've been trying to avoid the fact that Valentine's Day is this Saturday - but you were bound to be reminded somehow, and how better than Radio Flyer Review's Valentine's Day recommendations? I have identified which recommendations fit with which circumstances and have included a key so you can figure out which music will match your situation. If you're planning to have a happy Valentine's Day with your significant other, sorry, but this list is not for you.

Key:

*	Music for the broken-hearted
**	Crying in your beer music (a specific subdivision of music for the broken-hearted)
#	Music for the angry and bitter
+	Music to make you feel good about being independent (I don't have much of this because I really don't own or listen to much music to make anyone feel good about anything, but I tried...)

In no particular order:

1. Rid Of Me by PJ Harvey #
Break-up albums don't come angrier than PJ Harvey's masterpiece. Every line of every song is pretty much another kick in the face whoever it was who pissed her off. There's something darkly empowering about the album, but it never once feels good. Of course, the title track takes the cake: "I'm gonna twist your head off, see? / Till you say don't you wish you never never met her."

2. "In My Life" by the Brian Jonestown Massacre #
This has got to be my favorite bitter break-up song in the indie rock canon. "I'm gonna take you out / I'm gonna make you cry," etc. Word of advice: never break up with Anton Newcombe.

3. Country Music ** (and sometimes #, +)
The entire genre of country music (well, at least all of it that isn't completely crap) is made for this situation. It's hard to go wrong, but if you really have no idea where to start, I'd suggest going back to the classics, either the genre's leading ladies (Emmylou Harris, Dolly Parton, Linda Ronstadt) or even back to Mr. Johnny Cash himself. But really, just about anything from the genre will do.

4. "Fuck You (An Ode To No One)" by the Smashing Pumpkins and "Violet" by Hole #
Pumpkins' leader Billy Corgan was once romantically involved with Hole's Courtney Love, and rumor has it, they wrote these songs to/about one another, obviously post break-up. Seems like there may have been some hard feelings.

5. No Shouts, No Calls by Electrelane *
I know, I know - will you shut up about Electrelane already!? The answer is no, I won't. I love this band and I can think of very few lyricists who capture heart-break as honestly and accurately as Verity Susman. If this album isn't enough for you, also try "Birds" off The Power Out ("It's not that I can't go on without you / Got a lot of things to do / I'm busy, busy all the time / Still I can't stop thinking about you")

6. "Good Arms vs. Bad Arms" by Frightened Rabbit **
Hands down, the best crying-in-your-beer song of 2008. Key lyric: "I'm not ready to see you this happy"

7. Pre-war blues *,#,+
There's something very cathartic about hearing someone 80 years go saying exactly what you're thinking now, and particularly saying it on a crackly old recording over some nice guitar lines. There's a lot to chose from here, but here are some recommendations:

	> J. T. Smith - "Howling Wolf Blues" (*) or "Heart Bleeding Blues" (*,#)
	> Lucille Bogan - "You Got To Die Some Day" (#) or "Lonesome Midnight Blues" (*)
	> Martha Copland - "I Ain't Your Hen Mr. Fly Rooster" (+)
	> Robert Johnson - "Love In Vain" (*)

8a. Disintegration by the Cure *
This is an obvious choice, but still merits mentioning. One of the greatest break-up albums ever, this is perfect for crying your eyes out to for hours on end. Track picks: "Pictures of You" and "Disintegration"
8b. "Doing the Unstuck" by the Cure +
This isn't exactly a happy song, to say the least, but in a way, it can be helpful to have a I'm-Getting-Over-It song from someone you know feels just as miserable and hopeless as you (in this case, Robert Smith). Yes, it's sarcastic, but there's something empowering about it anyway.

9. Late 90's American indie pop *,#
For some reason, at least in the US, the late 90's were a great era for honest, direct lyrics. Some examples to get you started:

	> Magnetic Fields: "I Don't Believe In The Sun" (*) or "I Don't Want To Get Over You" (*)
	> Quasi: "I Never Want To See You Again" (*,#)
	> Elliot Smith: "Somebody That I Used To Know" (#) or "Everything Reminds Me Of Her" (*) (OK, these weren't technically released in the 90's, but what's a couples months' difference?)

10. "I Don't Wanna Walk Around With You" by the Ramones +
It doesn't get more direct than this.


Last resort...
Now, I happen to know a lot of people going through a really hard time right now, be it the stupid holiday this weekend, the economy, or just a string of bad luck. Now, I really hope none of you reading this are bad off enough to take these recommendations, but sometimes you just need music that's as low and messed up as you feel. So just in case...

For the very, very sad: Things We Lost In The Fire by Low

For the very, very angry: I'll Sleep When You're Dead by El-P or Broken by Nine Inch Nails (cliches exist for a reason!)

For the utterly miserable: Still by Joy Division or Spiderland by Slint

Radio Flyer's Desert Island List

I've been working really hard over the last few weeks to get caught up on all the notable music of 2008 so I can give you a kick-ass Best of 2008 list (oh, do I love lists!) but I have a lot I still need to get through. So, to speed things along, I cleared everything off my 4GB iPod, and filled it with all the 2008 albums I have. I had 1 GB left over and a few minutes to fill it with all of the "old" music I didn't want to leave home without.

And after I finished, I realized I had essentially created my "desert island" list, the music I would take into exile with me if I were only allowed 1 GB (how 21st century is that?!) for the rest of my life. And I think the list is rather different than what it would have been if I had been consciously creating a "desert island" list for others to read. Here's what made the cut:

- Electrelane - The Power Out, The Greater Times
- Guided by Voices - Bee Thousand, Alien Lanes
- Joy Division - Unknown Pleasures and thirteen miscellaneous songs
- My Bloody Valentine - Loveless, Tremolo
- Neutral Milk Hotel - In The Aeroplane Over the Sea and seven miscellaneous songs
- The Pixies - Come On Pilgrim, Doolittle, and eight songs from Surfer Rosa
- Skip James - four miscellaneous songs
- Slint - three songs from Spiderland
- The Smashing Pumpkins - Siamese Dream and fifteen songs from Mellon Collie and the Infinite Sadness
- Sonic Youth - twenty miscellaneous songs
- Stone Roses - "Don't Stop" and "I Am The Resurrection"
- The Stooges - four miscellaneous songs
- Walt Mink - twenty miscellaneous songs
- Yo La Tengo - thirteen miscellaneous songs

I'm pretty surprised at some of the things on there, like Stone Roses and Yo La Tengo, and I'm also surprised I'm now OK leaving home without the Velvet Underground.

If I had time to weed some of the dud songs out of that list to make more room (or if I actually got 1.2 GB on my desert island), here's what would have been next:

- Big Star - fifteen miscellaneous songs
- Company Flow - six songs from Funcrusher Plus
- Echo & the Bunnymen - "Thorn of Crowns"
- Jawbreaker - nine miscellaneous songs
- Mercury Rev - "Meth of a Rockette's Kick" and "Coney Island Cyclone"
- Minor Threat - three miscellaneous songs
- Mississippi John Hurt - three miscellaneous songs
- Nick Drake - "Road" and "Which Will"
- Ride - "Leave Them All Behind"
- The Velvet Underground - three songs from The Velvet Underground and Nico

Well, there you have it.

Five Creepy Songs for Halloween

5. Bela Lugosi's Dead (Bauhaus) - Duh.

4. I Love You But You're Dead (Destroy All Monsters) - This song is about the confusion you feel when you love a person, but they have died and are just a corpse. And how that's kind of a problem in your relationship. Key lyric: "I love you, but you're dead / You make my bed all red!"

3. TIE: Mildred Pierce v. Pacific Coast Highway (Sonic Youth) - Hard to pick the creepier of these Sonic Youth tunes. Mildred Pierce involves a tense, repetitive guitar line followed by shrieking. Pacific Coast Highway features really sweet sounding lyrics (read them first if you can) sung by Kim Gordon in a way that makes them deeply disturbing. I don't think I slept for a week after I heard this one. Sonic Youth runner-up: Dude Ranch Nurse ("Let nurse give you a shot / It's something to do...")

2. Blue Flowers (Dr. Octagon) - The production on this underground rap classic sounds like an old horror film. And it's from an album that chronicles the adventures of a serial killer alien gynecologist. Seriously.

1. Carol (Slint) - This song is completely terrifying.