Friday Night Video
🎵 Matthew 7:7
This week's Friday Night Video is a bit of a departure from other recent entries in the series. There's no electroclash or spunky cover reworkings. It's a new track from Welcome Wagon. Welcome Wagon are label mates of Sufjan Stevens and purveyors of a similar religiously-tinged folky aesthetic. With lyrics
🎵 I Would Die 4 You
I feel blessed to have come across a clean recording of Chvrches' version of Prince's messianic "I Would Die 4 You." I was blown away the first time I heard this cover years ago on Soundcloud. It's such a perfect rendition of a groundbreaking song. There is no video of
🎵 Billie Toppy
Men I Trust return with a new single to accompany their tour of the states. This one surprised me by beginning with a Factory Records sound and progressing into a chugging, propulsive post-punk ripper. A new wave guitar line comes up about a minute and a half into the track.
🎵 True Mathematics
Frank Yang commemorates the 20th anniversary of Ladytron's Light & Magic LP in a post on Space Echo. Completely unaware of the significance of the date, I was listening to the album the other day. My favorite song remains the track in the pole position, "True Mathematics." I'm excited to see
🎵 Cannonball
If you look back at the music I've shared on this blog, you wouldn't doubt my devotion to nostalgic 80s retro-inspired sounds. Bring on the sports cars, sunglasses, synthesizers, and neon signs. Lately, though, I've been wishing for a 90s resurgence. Let's have some flannel and baby doll dresses. In
🎵Decades and Dreams
A sweet and fun video accompanies a wistful and nostalgic dreampop track.
🎵 Terminal
The 70's soundtrack you didn't know you needed.
🎵 Perfectly Out Of Time
Apple Music forced me to take notice of Stray Fossa and I’m grateful for it.
🎵 Full Moon Baby
Hollie Cook stays locked in a reggae groove while giving a masterclass in crossing over.
🎵 Come On Let's Go
Captured Tracks recording artist Scout Gillett covers the standout Broadcast track "Come On Let's Go" on her newest covers EP, One To Ten. I liked the original version of this song, despite the fact that I am always feeling like I'm going to get Broadcast mixed up with Stereolab (it's
