Month: October 2011

Top 100 Songs of 2010 (50-26)

50. Far East Movement – Like a G6

Simple, unoriginal and hands down one of the catchiest songs of 2010. Brilliant.

49. Lady Gaga f. Beyonce – Telephone

Didn’t really appreciate this song in 2009. The attraction of this song lies in multiple areas, some of which being: Gaga’s glitchy hooks, Beyonce’s winning guest spot, and the digital manipulation. Apparently Britney Spears declined this song. Ouch. Probably for the best, no way she should have done better than Gaga.

48. Arcade Fire – Rococo/We Used to Wait

Like the album as a whole, “Rococo” grew…and grew and grew. Then it grew some more, like Elin does Tiger abhor while Nike tries to image restore. Didn’t actually like it like much to begin with. It’s absolutely massive now. There’s one other song on the album that I think may be a better pure pop song, but this one is close. A caustic remark on fickle youth, the music mimics the lyric and burns holes in headphones. The guitar that comes in at 2:30 is fan-freaking-tastic. “We Used to Wait” is an angel relatively speaking, but it still packs a bite as a stand alone track. No one, absolutely no one, can encapsulate the Zeitgeist like Arcade Fire can. On a collision course to become Canada’s best ever band (if they haven’t already done so).

47. Bruno Mars – Just The Way You Are

Hella sweet and melodically superior to 99% of contemporary pop. Bruno Mars is clearly a talented cat. Bonus points for those bells. Bonus points for reminding me of her.

46. Salem – Redlights

Witch House. Dread Electronic. Drag. These are terms that can describe Salem and “Redlights” in particular. I think there’s an even better way to reference this song…let’s use a contemporary of Salem’s to help: Crytal Castles. The Castles, a solid group in their own right, are like that 16 year-old kid that goes to a rave club and pops E, proceeds to dance up a storm until exhausted, then passes out. “Redlights” (and Salem by extension) is the big brother of that 16 year-old kid who’s upstairs at the club, behind closed doors, completing a bulk meth-amphetamine purchase and nodding his head militantly to the beat as he looks down at the jumping club through his one way mirror. Dangerous. Listen, but at a distance for your own good.

45. Kendal Johansson – Blue Moon

Seriously, what’s up with Sweden? Why are they habitually awesome at music? It’s baffling. We can point to their social policies, support of the arts or water filtration system, but I don’t think we’ll find anything concrete. It has to stay a mystery lest others begin to copy. Kendal Johansson is yet another Swedish treasure and “Blue Moon” is a crying salutation; a devastatingly heartbroken jeremiad. The sound of two lovers’ engraved intials on an open rock face, only to be slowly eroded by years of water crashing over the rock. This song reminds us that time corrodes. Essential.

44. Kings of Leon – Pyro

The best song from Come Around Sundown. Most likely to be a huge radio hit in 2011 and it won’t be undeserved. Sticking point: “IIIIIIIIIIIIIIIIIII won’t ever be your cornerstone.” Dude sounds serious.

43. LCD Soundsystem – Dance Yrself Clean

The opening song on LCD’s latest is the best track on the record. For the first couple of minutes, it leaves the listener wondering what’s going to happen — it doesn’t sound like much, flutish beeping beginning at 1:49 notwithstanding. But then, at 3:08, the beat detonates and shit gets real in a hurry. Should have known. The rest of the song is as catchy and poppy as James Murphy has ever done. Lyrically, the always interesting Murphy offers another quotable line, “acting like a jerk except you are an actual jerk.” Do what he says and just dance yrself clean. You’re dirty even if you don’t know it.

42. Robyn – Don’t Fucking Tell Me What to Do/Dancing on My Own

The first thing we heard from Robyn this year was “Don’t Fucking Tell Me What to Do”. Okay then. The song is brazenly farouche. Robyn tells us the multitudinous things that are “killing her”. The thing is, for all of her dying, the song is so fetching we must assume she’s not that hard done by, as she’s clearly having tonnes of fun being slayed. “Dancing On My Own” is the song that everyone seems to love most. It took me a while to hear it. While I still think there are a couple of better songs from the Body Talk series, “DOMO” and its many allures eventually wins out in the end. It’s the lyric, the digital noise, and maybe most of all, the utterly charming way Robyn, as only Robyn can, says Ooo-Wooo-Wooo. On a parallel earth, Robyn is playing to 100,000 seat stadiums nightly.

41. Sean Kingston f. Nicki Minaj – Letting Go (Dutty Love)

The most addictive song Sean Kingston will ever release. Sounding contemporary leaves the possibility it will sound dated in a while. This matters not. It sounds unbelievably good right now. Even Nicki Minaj, at her scene-stealing best, can’t upstage the strength of the hooks here.

40. Vampire Weekend – I Think Ur a Contra

My favourite song they’ve yet done in their brief but impressive career. A lilting, blossoming beauty of a song. Ezra Koening sounds angelic. A quiet, serene storm of a song. Simply beautiful.

39. Crystal Castles – Empathy/Not in Love f. Robert Smith

“Empathy”, harkening back to their debut album, tells us Crystal Castles still feels. It’s the sound of a Pacman pursuit, only when the ghost catches Pacman, it explodes upon contact, like the car when it meets the mysterious man in Unkle’s amazing “Rabbit In The Headlights” video, and subsequently breaks your computer/video game system. Dangerously accessible, “Empathy” is sweet poision. “Not in Love” comes to life with Robert Smith. Crystal Castles and Mr. Cure work wonders together. Nothing seems even remotely awkward or contrived with this hook-up. The song is a thrashing concoction of bleeding synths. The chorus of “Not in Love” just might be the biggest of the year. Well done.

38. The National – Bloodbuzz Ohio/England

The National do heartbroken rock better than anyone. This is a fact. In the past the melodies have not always accompanied their wounded sentiments. That has changed. “Bloodbuzz Ohio” is a colossal song, and in its four-plus minutes it’s filled with more drama than an entire Toronto municipal election. The song gushes blood like Paul Bunyan’s steps make thuds. “England” is simply august. It boggles my mind how The National pack so much emotion into a record. It’s one thing to intend to do so, but another (inspiring) thing altogether for the feeling to be so palpable and enduring for the listener. The National are a special treasure indeed.

37. Interpol – Success/The Undoing

Confident, greasy, salacious and erudite Indie is what Interpol do best. Apparently they cracked the hint of a smile with their last record, Our Love to Admire, so they said enough of that sunshine shit and went back to black. They still sound absolutely essential on “Success” and “The Undoing”, making tunes that only they can. “Success” opens the album and when the door kicks in at 1:42 , Interpol are back with a manic intensity. A deep breath can be taken. All is well, Interpol are intense and the world will not fall off its axis. “The Undoing” closes the album and is a haunted lighthouse sprinkled with Spanish pleas, swarming with honey-less bees. Along with “Pioneer to the Falls”, “The Undoing” is maybe the most epic Interpol have ever sounded. Vital.

36. Cee Lo Green – No One’s Gonna Love You

What a wonderful song Cee Lo chose to cover. Cee Lo, he of the one-of-a-kind, mega-sized voice; Band of Horses, wounded and heartfelt in almost everything they do. What a perfect combination. I wonder how Cee Lo came to choose “No One’s Gonna Love You”. He would have sounded great covering any BOH song, though he definitely picked the right one. It probably had something to do with the lyrical content of the song and that it fit nicely with the over-arching theme of The Lady Killer album. This is one of BOH’s best songs, but the reason why Cee Lo makes it so valiantly his own is the way he strokes it, converses with it and protects it. From the outset, it’s the way he sings the last word of the opening line, “it’s looking like a limb torn offfffffffffffffffffffffff.” The original is steady and contemplative, the cover soars like a phoenix. Magical.

35. Take That – The Flood/S.O.S.

The comeback. Sure, Take That, the all(Europe)-conquering boyband of the 1990’s have released a couple of records since 2006, purveying MOR tunes that made the band relevant again. They sung new songs and sold out arenas. All well and good. Now though, they’re alive. It seemed inevitable that Robbie Williams would come back to the group eventually. The biggest world-wide pop star of the past 15 years was at a cross-road. He didn’t seem ambitious anymore. He had clearly hit a lull. All this as he watched his former bandmates, the ones that a decade before had to watch his star explode, become a huge force again. Publicly, they’ve patched up their differences and seem comfortable with each other, surprisingly maybe, after such a long time apart. That’s part of the reason why “The Flood” and “S.O.S.” work so well. Conversely, some of the tension from such a long and ugly relationship remains, and that embedded friction is what really causes these songs, and the Progress album by extension, to skyrocket. Album opener “The Flood” is the best song they’ve ever written, a heart-on-the-sleeve, transparent lyric about how it all went down combined with the strongest melody they’ve ever come up with. Horripilating stuff indeed. “S.O.S.” is a frenetic, rock-tinged, paranoid ditty that sounds absolutely fantastic. Mark Owen takes care of the verses until Robbie comes in, sounding like he’s having the most fun he’s had in forever. Progress is probably a one-off, a record that will age well and proves these lads were at their most indispensable in their mid-30’s. Wowzers, didn’t see that one coming.

34. Wintersleep – Experience The Jewel

The best song from their sadly under-appreciated gem of a record, New Inheritors, “Experience The Jewel” is a marquee attraction like LeBron James’ mouth wishes it had a button for automatic retraction. Musically, a peaceful opening leads into a warm, steady middle section, and eventually culminates into a frothing crescendo of strings and guitars. Damn, have these Nova Scotia lads become awesome composers and musicians. People who know, know, but on the whole, Wintersleep are still Canada’s best kept secret.

33. How to Dress Well – Ready For The World

Hmmm. “Ready For The World” is flummoxing. It kind of belies any genre or typical song contruction. Its closest musical kin is probably Burial’s awesome “Archangel”. “RFTW” is just as awesome. This song floats around in the ether like voyeurism to a peeper. Maybe the biggest charm of this song is its malleability. It can mean 100 things to 100 people, and it would all make sense. A staggeringly deep and feeling tune.

32. Janelle Monae – Cold War

The most powerful song from one of the break-out stars of 2010. In terms of pace and swagger, this song is eerily reminiscent of Outkast’s “B.O.B.” Where that song was powered by an insane, speakerboxx-pounding, martial drum beat, “Cold War” is propelled by Monae and a crazy, capricious guitar line. We should have known the Cold War never ended, but there could have been no way of knowing that its re-emergence would be so blatantly publicized.

31. MGMT – It’s Working/I Found a Whistle

Anyone who jumped off the bandwagon has no ears. There are myriad pleasures on Congratulations, the strongest of which may be the album opener, “It’s Working”. MGMT sound impeccable, and there are more hooks in this song than drugs in which Lindsay Lohan partook. I know, it doesn’t seem possible, but it’s true. Masters of double-tracking similar sounding words and double entendres, MGMT are at it again with “It’s Working”. Speaking again of the likelihood of confusing fans with a new direction, MGMT whimsically sing that it’s part of a grander scheme. And just like the “Electric Feel/Electric Eel” double-track, “It’s Working” is wonderfully layered with “It’s Lurking”, a comment on the insidious nature of their songcraft that requires multiple visits. I have to disagree with them about it lurking though, because it’s incessant and immediate. It sounds like a care-free Beach Boys track mixed with some amazing Mama’s & Papa’s style harmonizing. Brilliant stuff. “I Found a Whistle” is a flabbergastingly simple song. Relating to their uniquely awesome child-like sensibility, the song is a ballad about the joys of finding a cool toy. So simple, so affecting. MGMT are for real and have already proven they can do whatever they want and pull it off with aplomb.

30. Gayngs – Crystal Rope

Wow. This sounds like nothing else out right now. Almost indescribable. The sound of Law & Order. The sound of cheating. The sound of love-making. The sound of clay-making. The sound of stepping in tar. This song is imperative.

29. Goldfrapp – Rocket (Richard X One Zero remix)

Let me be clear, the original is kind of average. Richard X’s remix however, is a sleazy, sweltering and sizzling sauna of a song. A pure disco romp filled with circumstance and pomp. Alison Goldfrapp comes alive on this remix. Goldfrapp’s best tune since “Number 1”.

28. Linkin Park – Waiting For The End

Instantly joins “Numb”, “In The End” and “Faint” as one of Linkin Park’s best songs. It’s not as “hard” as previous efforts, but “Waiting For The End” gives us the best of LP —  a teflon strong melody, Chester’s continually amazing voice, and electronic wizardry. Mike Shinoda has improved markedly as an actual singer and helps lift this tune up and into the stratosphere. Clearly having grown up, Linkin Park are still anxious, though seemingly not so worried about what lies ahead. The end result is a rock solid album in A Thousand Suns and especially the standout “Waiting For The End”.

27. Against Me – Teenage Anarchist

Tom Gabel spits venomous fire and wraps it up in saccharine, addictive guitars. “Teenage Anarchist” is a great track, in the vein of “Thrash Unreal” with its relatable, smart and ever-catchy hooks. No one does it like Against Me. Well done.

26. Band of Horses – Laredo/Compliments…

Redolent of fresh-air activity, cottage- and backwoods-sentimentality, and a smile-inducing obviousness about the every-day, Band of Horses win yet again with “Laredo” and “Compliments”. “Laredo” is the instantaneous smash, centred around a guitar riff that spans canyons and prances with coyotes. “Compliments” is the calculated and plodding, nature-conjuring woodsman, dazzling for its matter-of-fact sound and lyric. Ben Bridwell coo’s, “deep in the heart of the country, was a house I built from logs; a raven and a ladyhawwwwwk. Quiet and calm through the day, see the sun burn through the hall; approaching was a yellow, dawww-aww-awgg-aww-aww-awg.” Earnest is thy clothing Band of Horses. No one wears it better.

Top 100 Songs of 2010 (75-51)

75. MGMT – Flash Delerium/Someone’s Missing

Lead single “Flash Delerium” was reticent to release its charms, just don’t mistake that for meaning there are none present. It’s a fantastic mess of a song. “Someone’s Missing” is more straight forward but no less enjoyable. MGMT, for all of their drug-inspired imagery, are much smarter than they let on. “Someone’s Missing” plays at the fact that the band may have lost a few fans with such a tough album, one bereft of world-conquering tunes like “Time to Pretend” or “Kids”. They clearly don’t care, and they shouldn’t; they’re on a very interesting path even as the bandwagon gets a hell of a lot lighter.

74. Timbaland – If We Ever Meet Again (f. Katy Perry)/Morning After Dark (f. SoShy & Nelly Furtado)

73. Taio Cruz – Break Your Heart/Dynamite

72. Diplo f. Pantera Os Danadinhos – Percao

Diplo is a good producer, and the music here is a likeable slice of MIA/Santigold type gitch. The song is truly brought to life though by Brazilian Pantera Os Danadinhos. I have no idea what she’s talking about in this Portuguese lyric, but it’s mighty fun bopping your head while trying to guess.

71. Sufjan Stevens – All Delighted People (Classic Rock version)/Vesuvius

“All Delighted People”, from Sufjan’s EP of the same name is a slow-builder, more rewarding with each subsequent listen. Mr. Stevens has impeccable pop instincts and a knack for horripilating. “Vesuvius” proves impactful from the moment it begins. Is it an ode to a mountain? A metaphor for something unattainable? Whatever Sufjan’s intention, the song is simply gorgeous.

70. No Age – Fever Dreaming

Bat-shit crazy, tatterdemalion and the life of the party. In fact, “Fever Dreaming” isn’t just the life of the party, he’s the guy who gets arrested for pissing on a cop that was sent to the party in the first place because of the commotion he was causing. Rabble-rouser!

69. Sleigh Bells – Tell ‘Em

Bat-shit crazy as well, carrying a futuristic laser gun that spews cotton candy. Also, the sister of “Fever Dreaming”. As the cops drive away with her brother, she shoots a blow dart that takes out a tire. As the cop car stops and the cops return to the house to seek out the perp, she escapes slyly, not before sneaking her brother out of the car. Someone else, probably a recent MIA song, gets arrested and everyone is happy.

68. Tennis – Marathon

Unmistakably attention-grabbing, like a Camera Obscura song mixed with 60’s Motown sensibilities. Pretty and wonderful and relevant. A must listen.

67. Yeasayer – I Remember/ONE/The Children

I’m cheating even more here by putting three songs in one spot. Thing is, I’ve liked them all a tonne at different times. “I Remember”, the wayward, lovetorn ballad; “ONE”, the 80’s indebted slick piece of funk; and “The Children”, the morbid, hallucinogenic, bastard son. I find a couple parallels between Yeasayer and MGMT very interesting. First of all, they’re pals. Both from Brooklyn, tourmates during their debut record tours, and interested in breaking any pre-conceived notions of what kind of band they are. They’re both, ahem, experimental to put it mildly, with sounds and no doubt substances. I would love to sit in on a conversation between these guys. Seeing them play together a couple years back, I thought that Yeasayer were better live and MGMT had better songs. Funny that they’ve switched each others’ clothes at this point. MGMT have reverted back to a less commercial sound while Yeasayer have swung for the fences and made their unique brand of psychedelia accessible for all. More specifically, MGMT’s “Kids” couldn’t be more peppy if it tried. On the other hand, Yeasayer’s synonymously titled “The Children” couldn’t be more dark and witching if it tried. I’m going to enjoy watching both of these bands move forward individually, but also as some sort of weird Brooklyn psych-pop fellowship.

66. Tokyo Police Club – Wait Up (Boots of Danger)

Bringing pure fire from Newmarket. Well done lads.

65. Katy Perry – Teenage Dream

The catchiest song from her Max Martin helmed latest. When pop is this polished and uses dance-style layering and come-ins to this effect, it’s hard to resist.

64. Shakira – Waka Waka

A lot of derisive chatter about this song doesn’t dissuade me from saying it’s as catchy as Lucifer’s baseball glove in his hellish house league (read: he uses a particularly effective brand of stick ’em and it works). Who cares that a non-African sang the World Cup theme song? I don’t. Shakira’s vocal stylings have rarely been so endearing.

63. Bagraiders – Shooting Star/Matt White – Love

The McDonald’s combo. Bagraiders’ “Shooting Star” is that insufferably catchy dance song from McDonald’s breakfast ad of earlier this year. Matt White’s “Love” is the song that accompanies the recent McRib ad. One pure dance, one pure pop, both proving the creative marketing team at McDonald’s may be without a conscience but not without ears.

62. Fang Island – The Illinois/Daisy

Dance-punk enthusiasts go large with “The Illinois” and “Daisy”. Both tracks are wondrously epic, mixing accelerated guitars with chanting refrains. These songs are good for your heart, like Stephen Hawking and his Grand Design is difficult to impart.

61. Cee Lo Green – I Want You/Satisfied

Lady Killer indeed. A fantastic duo of tunes, back-to-back and stuffed right in the middle of his smooth-as-buttermilk, soul-inspired LP. Cee Lo drips style and grace with these two tracks about love and pleasure. No one (seriously, no one) croons better than Cee Lo. He’s at the top of his game and when he uses that powerhouse of a voice at full force, he can melt steel like in a colour fight, aqua-marine batters teal. He’ll be known for that ubiquitous, two-worded send off of a song this year. Quite frankly though, that does a disservice to the rest of the very strong material on The Lady Killer. Don’t sell yourself short next time Cee Lo, you’re not just a lady killer, you’re a bona fide and indiscriminate hitman.

60. Daft Punk – TRON Legacy (End Titles)

Unfortunately, the Tron Legacy soundtrack is not a proper Daft Punk album — more of a score — so we only get a pittance of what the Daft are capable of. “TRON Legacy” does however, firmly show the world that DP can still bring electro-magma awesomeness whenever they please. The kicker here is the massive orchestra that accompanies the duo and doesn’t sound out of place in the least. It only leaves the listener salivating for their next effort. Come again soon boys.

59. My Chemical Romance – S/C/A/R/E/C/R/O/W & The Kids From Yesterday

Ambitious to their core, MCR are back with a grandiose, multi-themed saga that primarily involves empassioned youth fighting against, to put it simply, “the man”. For all of the weighty thematic content, the hooks are often immediate and precise. “S/C/A/R/E/C/R/O/W” is one of the best songs they’ve ever done; full of layered guitars and swaying vocals. “The Kids From Yesterday” is the considerably hooky ode to bygone youth. MCR have a smart, considered voice that begs to be heard, and are the “young” band most likely to come up with a Green Day, American Idiot-style, world-conquering album later in their careers once people have written them off.

58. Marina & The Diamonds – Oh No!/Hollywood

The first offerings from the breakout star of 2010. With a winning smile, pretty face and most importantly sky-filling hooks at every turn, Marina Diamandis has issued her curriculum vitae on The Family Jewels LP. Clearly obsessed with fame, success and its trappings, this woman knows exactly what she’s getting into and sounds like she’s having one hell of a time taking the plunge into the abyss. “Oh No!” and “Hollywood” would be other artists’ best songs, but they’re not even close to the best of what Ms. Diamandis’ album has to offer. The sound of a star going Red Giant.

57. Bombay Bicycle Club – Ghost/Dust On The Ground

Two songs from their mid-2009 album, I Had The Blues But I Shook Them Loose, both of which were on my list last year. I couldn’t help it; every time either of these songs played this year, I had to stop. They were just too damn rewarding not come back to. Both “Ghost” and “Dust On The Ground” are exceedingly rewarding listens. Displaying such staggering musicianship on a debut album is frightening. This English band will have a lot to say before it’s all said and done.

56. Hot Chip – One Life Stand/Thieves In The Night

Maybe the most feel good band on the planet. Unquestionably one of the best. Both of these songs are distinctly joyous. A marvel of a band that continues to please.

55. Guster – What You Call Love/Stay With Me Jesus

For a band that’s not a singles band, Guster have a plethora of astonishing songs. One of the most likeable bands on the planet, they’re also unbeknownst to the masses. Content in giving their fans what they want is commendable. “What You Call Love” is happy yet aching; triumphant trumpets percolating around the scolding lyric, “what you call love, is just urgency; what you call love, is the place you turn in an emergency; what you give up, when it’s not what you want it to be, well that’s not love, what you call love…” Jaw-droppingly poignant in its simplicity, such is one of the golden charms of Guster. “Stay With Me Jesus”, with its gorgeous and quiet guitar-strummed hook, is not a simple religious plea to the bearded one. First of all, most of the band are Jewish, and they’re too clever to write something so basic. Moreover, it’s a song about how some people believe faith is exclusive and the inherent silliness of such an assertion. All the while, the heavy idea is massaged with beautifully sung “Hallelujah’s”. Stay with me Jesus? Sure, but as long as everyone’s invited and Guster’s playing as we chill.

54. Kanye West – So Appalled f. Jay-Z, Pusha T, RZA, Swizz Beatz & Cyhi The Prince/All of The Lights f. Rihanna, Alicia Keys, Elton John, Elly Jackson, Fergie, The Dream, Tony Williams, Kid Cudi, John Legend, Charlie Wilson, Ryan Leslie

Easily the longest song title of the year if you factor in the featured artists, “All of The Lights” has to be tongue-in-cheek. I’ll be frank, I can’t even hear half of the people the song purportedly features. I’m unconvinced they’re all actually there. Either way, the beat is throttling. Yeezy steals this song easy, and right off the bat too, as he demands, “something wrong, I hold my head; MJ gone, our ni**a dead!” Cearly, Yeezy is distraught and his anxiety is palpable. His anxiety is all-encompasing too, and it has his personal life reeling, “restraining order, can’t see my daughter; her mother, brother, grandmother hate me in that order.” Kanye owns this song with a ferocious, face-slapping vigor. “So Appalled” is waaaaay less effusive but possibly even more affecting. It’s a calculated menace, kind of like Mobb Deep’s “Shook Ones”. The strings in the background lend a sense of impending dread that make the song impossible to ignore. Bonus points to Kanye for getting Jay-Z to not only sound alive, but even a little invigorated. Extra bonus points for how everyone says “ridickalous”. A movie of song from a film course of an album.

53. Band of Horses – Northwest Apartment/Neighbor

“Northwest Apartment” is probably the most upbeat song BOH have ever done, and it’s one of their best. A sing-a-long, foot-stomping, mega-sized tune, it proves BOH can do energy if they please. The thing is, they just sound so wonderful when they do down-tempo stuff, something album closer “Neighbor” aptly reinforces. Ben Bridwell sounds so peaceful, even if he’s yearning for an unattainable past. “Neighbor” begins as softly as silk that I can hear it breathing. Its breaths are so relaxed it sounds like it’s about to go to sleep — but not because it’s boring. The second half of the song doesn’t exactly explode, but it moves from almost closing its eyes to opening them wide, looking upwards to the sky and whispering a thank you under its breath. The organ to close the song is freaking fantastic. Superb efforts, yet again from BOH.

52. CEO – Come With Me

Somewhere, a club in Sweden plays this song every Saturday. I wish that club was closer. I’d get in on that. Oh Sweden.

51. The Electric Anthology Project – I Dim Our Angst in Agony

An expedition of a song. A cover of one of my favourite songs of 2007, Built to Spill’s “Goin’ Against Your Mind”. What’s interesting is that the cover is by Built to Spill. Under the moniker The Electric Anthology Project, the band has covered several of their own songs with an electronic hue. The awesome guitar intro of the original is transformed into a dripping synth intro. Both are fantastic. Very creative.