Father John Misty - “Hollywood Forever Cemetery Sings”
Fear Fun

I’ve had this song stuck in my head since I watched the video that some friends of mine were involved in. The guitar has such a great tone and the sibilant, clappy drums are just repetitive enough to be hypnotic. Hopefully the rest of the album (due out on May 1st) will be as good as this track.

Spiritualized - “200 Bars”
Lazer Guided Melodies

Before the noisy majesty of Ladies & Gentlemen We Are Floating In Space and the overwrought gospel of Let It Come Down, Spiritualized was straight-up psychedelic rock, lapsing into shoegaze (as you do) and generally maintaining a gauzy, spacey feeling for the length of entire albums. Lazer Guided Melodies is a great example of this, and “200 Bars” is impeccable, with its deliberate pacing and soft layers of jangly psych harmony. She does, in fact, count all the way to 100 before the song “starts.” I love it.

The Beatles - “I Feel Fine (Instrumental/Warmup)”
Studio Sessions 1964 (Bootleg)

This is takes 6 and 7 of the 9-take recording of “I Feel Fine”; take 6 is without vocals and is just pure jangly rhythm. Of course, in a way, it’s just “I Feel Fine” without the voice track. But it’s more than that, and it’s a hell of a lot of fun. Beatles ephemera tracks are always fun.

Clams Casino - “What You Doin”
Instrumental

Walking the line between electronic ephemera and lushly produced hip-hop, this record is a great example of hybrid vigor. The deep beats are decidedly bass-heavy and urban, but the ghostly samples and full-spectrum atmospherics are more like Cut Copy crossed with Tim Hecker. The drums are a melange: the last track, “13,” combines a metronomic high hat from the 80s with a thunderous bass from the mid-2000s, with an old school clap that makes you think it’s going to drop into a house spiral at any moment. And then you’ve got this track, like a drugged, gauzy trip to a slow-motion dance floor. Where did this come from? (insound)

Plants And Animals - “Celebration”
La La Land

A slow-grow track from this versatile band, with one of those great sounds that keeps growing when you think they can’t add any more. Shades of Yeasayer. I’m hoping these guys have gotten popular over the last couple years but I have no way to be sure. (insound)

Au Revoir Borealis - “Bella Ballerina”
Dark Enough For Stars

A wispy, melancholy instrumental from this shoegaze-y 2008 album. Would work well as background music for a day-in-the-life montage of a forlorn and lonely grocery bagger. (site)

Do Make Say Think - “In Mind”
You, You’re A History In Rust

The last track from a solid album that demonstrates the musical breadth of which Do Make Say Think are capable. Most of the post-rock motifs have been stripped out, or at least aren’t front and center. There’s more songwriting and less atmospherics — not a change many fans expected, I think (when I saw them live, they admitted they would sing on their next album as if it was a crime), but after three or four excellent albums along their original line of musical thinking, a little variety can’t hurt (and at any rate, their next album was a return to form). This final track is a good distillation of the album, which is well worth a listen and may in fact be the best starting point for new listeners. (insound)

Bibio - “Mr. & Mrs. Compost”
Vignetting The Compost

Despite the fragrant name, this track and to a great degree this album are surprisingly tender and beautiful. Bibio has since diversified, but within his purview at the time, this was expansive, playful, melancholy, and absolutely unique in sound.

The Psychic Paramount - “Intro/SP”
II

While not as mind-shatteringly intense as the near-nuclear Gamelan Into The Mink Supernatural, The Psychic Paramount’s new album is still louder and more powerful than 99% of music. The songs lack some of the traveling I liked on their previous album - the tripartite “Para5,” the ambient freakout of “Ex-Visitations,” the hypno-slow-build of the title track. There isn’t as much of that here, but there are plenty of moments where the noise and the drums and the chaos and the noise seem to transcend themselves and achieve something akin to cosmic glory, and if you were hearing it live, your eardrums approaching the limits of their durability, you would fall on your knees and worship.

Ghosts and Vodka - “Futuristic Genitalia”
Addicts & Drunks

I’m not sure how to categorize this instrumental guitar play-date, but I love it anyway.

Voltron Opening Theme (no narration)

A break from the usual. This one lacks the opening narration (“This… is the story… of the super force… of space explorers”) and lets you focus on the sweet horn breaks.

Whitenessmovesdownward - “Decay / Renewal”
Meditation: Ground Zero

A bit of atmospheric electronic piano I collected around ten years ago, in the supreme madness of the Audiogalaxy years. Obscure to the point of near non-existence.

Porcupine Tree - “Feel So Low”
Lightbulb Sun

A few of my friends in college were hugely into Porcupine Tree, and while I didn’t catch the fever, this song and a few others have been in regular rotation for ten years now. “Feel So Low” is a just a melancholy melody with no pretensions.

Raising the Fawn - “Drownded”
The North Sea

While parts of this album stray into the falsetto melancholy of bands like Aereogramme and For Stars, the meaty guitar and willingness to extend their songs into epic territory (at 11:11, this is the longest on the album but not by far) make Raising the Fawn a bit more exciting. “Drownded” covers a lot of ground, or water as it were, and while it leaves plenty of space to breathe, it never gets boring and the songwriting is just plain solid.

Tape - “Switchboard Fog”
Milieu

Crickets don’t chirp, nor birds sing, to a score. There is no conductor. Perhaps that’s why Tape’s haphazard harmonies and pastoral noodling are so compelling. They lack the exactitude of produced music. This track and others on Milieu, their best album, are less like songs and more like a dawn chorus of guitars, keyboards, and bells.