I started this playlist with its first two songs in mind: “Reach Out” and “Reflektor”. I had been reminded of both separately and realized that they happened to be a match made in heaven; The Center Won’t Hold (2019) is Sleater-Kinney’s most pop-influenced record (thanks to producer Annie Clark/St.Vincent) and Reflektor (2013) skews more art rock than Arcade Fire’s previous two albums. They meet in the middle at a strange intersection of danceable and raging. Arcade Fire creates this feeling through lyrics:
Trapped in a prism, in a prism of light
Alone in the darkness, darkness of white
We fell in love, alone on a stage
In the reflective age
No band does that specific mood like Spoon, especially Hot Thoughts (2017). This record is both haunted and haunting; listening to it feels like being shrouded in swirling fog. They Want My Soul (2014) was decidedly bright and soulful, but this record takes a more guarded, moody turn. The electronic elements, especially the drum machines, create an industrial feel to this album, in what feels like a nod to Radiohead’s In Rainbows (2007).
The Killers’ Hot Fuss (2004) stands the test of time. The prominent synth lines only got more catchy and the cryptic lyrics only took on more meaning as it aged. “Smile Like You Mean It” was the first song by this band I ever heard, and it instantly became a longtime favorite. There are some records I listen to from my teen years that are fun because of their nostalgic value, but this one is good, as a piece aside from my associations. Every single song on Hot Fuss is a banger in its own right.
I forgot about General Dome (2013) by Buke & Gase until recently. This duo is known for handmaking new instruments that they use in their songs, like the “buke”: a modified baritone ukulele. I think this band is genius; their music is complex, but still accessible in its memorable melodies. They rock hard, and perform as well live as on the record. The type of music they make requires incredible precision (think Hiatus Kaiyote) but they manage to be creative within those bounds.
I’m inspired by the music on this playlist to ignore genre boundaries. Buke & Gase is truly undefinable, and Sleater-Kinney has gone through so many evolutions and phases that their cult following is based in love of their innovation more than their sound. Music, and how people experience it, is no longer so dependent on the boxes whose names mean nothing. What makes something “popular” as opposed to “alternative”? Artists are eschewing the idea that their listeners are confined within strict borders of taste, and their music is better for it. I hope that when I make music, I can make something new.