Songs of the Week

A blog where I pick one song to listen to and enjoy, every week! It’s a bit of fun, and a peek into my musical taste and exploration. The point is to discover new music and please give any feedback you would like!

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For older Songs of the Week, check out these pages:

Songs of the Week, Early 2016

Songs of the Week, Late 2016

Songs of the Week, Early 2017

Songs of the Week, Late 2017





Song of the Week – Nov 22nd, 2018

Green – “Night after Night”

Jeff Lescher’s band Green are the epitome of underground pop music in the 1980’s, one of those groups that is destined to be overlooked by mainstream society. They have a killer knack for pop music melody combined with the ability to switch from sweet to hysterically emotional on a dime. Every one of their songs on 1989’s White Soul album shows this quality, and I managed to find exactly one live video of them on youtube for this tune. I highly recommend any of their songs, and hopefully music like this will be treasured in the future by more people. Obscure music is not something to cherish, it is something that needs changing by showcasing great artists. There is no genre for this type of rock music; it is simply timeless. Happy Thanksgiving! – Trev



Song of the Week – Oct. 20th, 2018

Liz Phair – Help Me Mary”

this is one of those songs that I absolutely love, but I really wish it was longer. Just a little bit of a repeat on that chorus or verse would make it about 3 minutes long, and its so good I want it to be longer! Then again, perhaps that is what makes it so unique! Liz Phair has a knack for coming up with the strangest chord progressions.



Song of the Week – Oct. 10th, 2018

The Jesus and Mary Chain – “Cracking Up”

J&M Chain are a lifelong crush for me, and this is in my top three songs by them for sure. It came late in their career, on for a long time their final album 1998’s Munki (they reunited in 2017 and made a good reunion record). It’s a departure from their usual Velvet Underground 2 or 3 chord rock music vibe, but they perfected their sound while expanding it throughout the record. In a very convincing way, Reid preaches about the responsibility and mental strain of any songwriter / musican and it’s something i have always been sympathetic to, “They said i was incomplete / i am a creep / i am a preiest / i am a freak.” Reid lashes out at the world that “never understood” him, and its a constant theme in his music.
My dream came true When i saw them live for the first time last night, needless to say I cracked up all over the place – Trev



Song of the Week – Sept 19th, 2018

MC5 – “Starship”

One of the reasons I love their first record is because they get so weird and exploratory on this song, on an album that is considered “punk rock’s start” that is something that is much appreciated. The band is underrated for being as multi-faceted as they are. And on their 50th anniversary tour, I got to meet my favorite drummer of all time, Brendan Canty! (from Fugazi)



Song of the Week – Sept 12th, 2018

Grizzy Bear – “Ready Able”

One of my favorite of their tunes, a song that beautifully morphs halfway through into something amazing and haunting. I got to see it live last night!




Song of the Week – Sept 5th, 2018

Badly Drawn Boy – “Stone on the Water”

It was an oddity to say the least when Damon Gough rose to prominence in the year 2000, when most music that was popular was either metallic, super poppy, or some other form of LOUD. Subtley is timeless, as Gough showed us at a time when we needed it. His album Hour of the Bewilderbeast proved he could perform any form of rock music, but his heart and soul was best displayed in songs like this one.


Blake’s Song of the Week – Aug 26th, 2018

Murder City Devils – “Somebody Else’s Baby”

Hey you- you like rock music, right? rock music, yeah? The kind that sounds like leather jackets, knife fights, cigarettes, and bourbon shots? Well, the Murder City Devils are the band for you. Composed of Spencer Moody on drunk Bukowski vocals and lyrics, Dann Gallucci and Nate Manny on guitar, Derek Fudesco on bass, Coady Willis on drums, Leslie Hardy on keys, and ever present roadie Gabe, the Murder City Devils played tough no frills rock in roll that had a swagger that is timeless. “Somebody Else’s Baby” was featured on their at the time final album in 2000(they broke up soon after its release, but reformed in 2006 ) and is pure distilled MCD. Featuring melodic and spooky organ, a big epic shout along chorus full of drunken longing (“I woke up in someone else’s arms…but I was dreaming…I was dreaming of you!!!”), and loud guitars, it’s a song that both tears you apart and brings you up from a drunken stupor.

MCD’s various members went on to join/form an ungodly amount of projects., often with each other..these include- Cave Singers (Derek), Pretty Girls Make Graves (Derek), Dead Low Tide (Spencer, Nate, Coady), Big Business (Coady), the Melvins (Coady), Smoke and Smoke (Spencer), the John and Spencer Booze Explosion (Spencer), Triumph of Lethargy Skinned Alive to Death (Spencer and occasionally Dann), Modest Mouse (Dann), and Cold War Kids (Dann).



Song of the Week – Aug 19th, 2018

Throwing Muses – “Shimmer”

I seriously wonder how a band like this would fair in modern times, as an angular heavy rock single like this was in vogue back in the mid 1990’s. Kristin Hersh has a distinctive style that i have been proud to copy in my own music, and even though this song is catchy and single ready it is full of twist and turns and sonic detours. Sometimes there is dead silence at random, there are about 3 or four versions of the chorus, there is a distinctive anthemic ending, there is a guitar solo which seems to create a whole new song. It gives me hope to know that music this unique and challenging can be accept my the masses….perhaps someday again.






Song of the Week – July 28th, 2018

Robin Holcomb – “Hand Me Down All Stories”

Robin Holcomb does not fit into a genre comfortably, so she is rather unknown. She comes from the late 1980’s jazz movement, but is clearly inspired by both the folk rock abstractions of Joni Mitchell and the vocal workouts of experimental performers like Meredith Monk. On her self-titled album from 1990, she jumped from genre to genre each song, somehow fusing them all but sounding like no one that has come before. “Hand Me Down All Stories” is one of my favorite novelty songs that holds up particularly well, some kind of mix between country, rock, and jazz that remains classy and moving both at the same time.





Blake’s Song of the Week – July 21st, 2018
Wild Flag – “Future Crimes”

I’ve been mulling the legacy of this band a lot for some reason. Wild Flag consisted of Mary Timony (Helium, Autoclave, various solo albums, and later of Ex Hex), Carrie Brownstein (Sleater-Kinney, Excuse 17), Janet Weiss (Sleater-Kinney, Stephen Malkmus and the Jicks, Quasi) and Rebecca Cole (The Minders). That’s an indie rock super group if ever there was one. The seeds for this band came from Timony and Brownstein’s tiny one off ep as the Spells (also worth checking out). Then after the break up of S-K, Carrie and Janet got together to make some new music and chose to round it out w/ Timony and Cole.

There was a ton of deserved critical praise when their debut 7″ and subsequent album came out on merge. The songs were all great, featuring elements of both Carrie and Mary’s prior bands, but upping the gtr interplay to an almost television level in places. Carrie influence tamed some of Timony’s more prog elements while Timony provided a much different guitar foil for Brownstein, pushing her into some very interesting territories. The live shows were an ecstatic wave of rock music bliss. Carrie crumpled on the floor playing into sheer exhaustion, Weiss reaffirming that she is an unstoppable, powerful, but stabilizing powerhouse of a drummer. Timony and Cole both seemed as full of joy as a person could be while playing.

Also, given the time this album was released, i think it could be potentially safe to say many a young fan who may have found Carrie through Portlandia instead of her prior band, would have had one of their first experiences witnessing her live prowess through this band.But then…Sleater-Kinney got back together, Timony went on to form Ex Hex in the vacuum (continuing some of the fun from Wild Flag while taming a lot of the guitar pyrotechnics). With this turn, I sort of think it’s safe to say this will be the only Wild Flag release. And if it is, how will we remember it? A blip in the over arching story of S-K and Timony’s discography? A powerful statement that stands on its own? Will people really remember it at all? I have my thoughts on this (see the second option) but how about you?


Song of the week – July 14th, 2018

Tropical Fuck Storm – “Rubber Bullies”

Seriously the best rock music going down in 2018. This is the kind of music that is urgent and powerful, and shows how to make a song engaging even though it is simple. I don’t really know what else to say but listen to it and get into it. You will be moved in some way, even though it is a hard to find record in America right now (most of the band is made up of The Drones from Australia). Whatever magic the band works, its amazing that they make it seem easy.



Blake’s song of the week- June 30th, 2018

Gillian Welch “April the 14th Part 1”

Complete masterpiece. Moving masterpiece. Completely moving masterpiece. Really, i could say that about any of the songs on Welch’s “Time (The Revelator)” album. The album is a staggering collection of songs, each one a compelling view into the life of a world weary musician trying to make sense of the modern world through the filter of history, both the world’s and rock n roll’s. The album is almost a country music ode to the power of rock n roll. All of these perspectives collide in our song of the week.
Accompanied by Welch’s partner in crime, David Rawlings, Welch begins with a quick poetic mention of the Titanic (which hit the iceberg on the title track’s date), then goes on to tell the story of being a bar employee seeing the unglamorous side of rock n roll. A band of unwashed weirdos rolling up half drunk to play a “5 band bill” on a “two buck show” from Idaho. No attention from the local press. But witnessing this, Welch is still moved to sing how she wishes she played in a rock n roll band. The powerful wistfulness Welch sings this line is the emotional climax to the song and it’s all comedown from here. As after the show Welch cleans up a disheveled bar, sweeping up plastic cups and cig butts while watching the drunks stumble out.

The song returns to its loveletter to the titanic and ends with a quick ref to the assassination of Abraham Lincoln (also happened on April 14th). This reference works itself around later on the album in “Ruination Day Part 2” providing a synchronicity and cycling that is reflected ultimately in closing track “I Dream A Highway”, a 15 minute epic that moves me to tears. But then there are bits on every song on this album that move me to tears (I warned you i could go on about this whole album). “Time (The Revelator)” is one of the most powerful albums of the 00s, but in the most quiet of ways. And “April the 14th Part 1” is one of many emotional peeks.


Song of the Week – June 23rd, 2018

Unwound – “Terminus”

Unwound are a group that lived completely in their own world, indifferent to trends and styles while evolving in their own beautiful style. At heart the band are a power trio, but by the time they made their final record Leaves Turn Inside You in 2001 they had expanded in scope and sound to something that sounded like a full orchestra at times. “Terminus” is the longest song on that double record, and at nearly 10 minutes in spans the sonic spectrum most bands fail to reach in an entire career. Starting off as an off kilter abrasive rocker, it then builds to a post-rock influenced violin break down that succumbs to a dub-influenced tribal workout for drummer Sara Lund. The band achieves a beautiful synthesis of every possible genre rock music had created in the 20th century in one single song.




Song of the Week – June 10th, 2018

The Black Keys – “Gold on the Ceiling”

When this song came out, The Black Keys had been a huge band in the public spotlight for a while. While Rubber Factory (2004) remains their best album, some kind of special chord was struck with 2011’s El Camino and this was that album’s flagship song. With a chorus so simple and effective that its crazy no one had come up with it before, this tune proves that blues based rock is still a valuable force and obliterates anything that dares cross its path. Definitely influenced by Norman Greenbaum’s “Spirit in the Sky” the song updates classic rock for the new millennium with a huge organ included that serves as icing on the cake. The below video was also directed by Harmony Korine.



Blake’s Song of the Week – May 28th, 2018

Royal Trux – “Blue is the Frequency”

Jesus, how does one sum up the insanity that is Royal Trux? Forlorn junkie blues rockers? Noiseniks from the worst streets of New York City? The new Rolling Stones, but better? Royal Trux are a band that’s done it all. They are a band that might be a hard sell for people expecting music that is overtly tuneful (but man, they have some great tunes) and people who might be opposed to merging classic rock w/ straight weirdness. Consisting of Neil Michael Haggerty on guitar + vocals and Jennifer Herrema on vocals, the Trux career has run from the early days of amelodic no wave exploration to their ascension to their own idea of classic rock stardom (signing to Virgin Records, having their record be the last thing noted Neil Young producer Dave Briggs worked on that was released before his death, having the son of a member of Lynyrd Skynyrd on drums, releasing 2 albums of a 3 part concept trilogy (Thank You and Sweet Sixteen…part 3, Accelerator, was released on Drag City), and putting out an album with one of the most disgusting record covers ever (the aforementioned Sweet Sixteen)) before heading back to indieville w/ all their major label cash in hand to close out the first phase of their career (they recently reunited and are working on a new record!).

Their return to a smaller pond began with Accelerator, and was followed up with my personal fav Trux album Veterans of Disorder. The album is a pretty perfect distillation of Royal Trux’s world view. The first 4 songs are a straight string of stone cold classics dabbling in various strains of rock music before they fall into a weirdo hole and the album goes off the rails in the best way possible. The closer to this masterpiece is “Blue is the Frequency.” Featuring David Pajo (of Slint, Tortoise, Papa M fame) on bass and Jon Theodore (of Golden, Mars Volta, Queens of the Stone Age fame) on drums (they were the backing band for both the Accelerator tour and the VoD predecessor 3-Song ep), “Blue” starts off as a slinky jazz number riding on some gorgeous bass work from Pajo and lead vocals from Jennifer w/ Neil adding some classic Trux backing vox. After riding this for the first half of the song, a trap door opens up, Theodore drops into a heavy as fuck rock beat and the song becomes a powerful exploration of guitar pyrotechnics before closing out on some gorgeous waves of lapsteel that have been peaking around the edges of the entire song. This is how you close out a goddamn record properly.




Song of the Week – May 15th, 2018

Lida Husik – “Mother Richard”

Of all the great female singer/songwriters of thw 1990’s Lida Husik’s music has perhaps aged to most gracefully. On one hand, it is pshycedelic rock that harks back to an innocent era thrity years prior, but updated to a more neurotic and depressed ethos. On the other hand, it is music that is surrounded by layers and layers of knowledge from a great producer ( the one and only Mark Kramer) who takes great pop melodies to another dimension. It reminds of of a time when artists were not only more prominent in rock music, but when people pushed themselves harder to be more unique. I realize I sound like an old man right here…but they just don’t make music like this anymore.



Song of the Week – April 26th, 2018
Volebeats – “Back in a Minute”

One of the greatest country songs ever written, and far to unknown to most people, though formed in the late 1980’s and having a rather devout underground following, the modesty of the band shines through on what is probably their best album, 1999’s Solitude. Alternating between country ballads and moody surf rock instrumentals, the album is a treasure and there are several tunes off of it I could pick as a favorite, but something about this song is so simple, heartbreaking and real.


Blake’s Song of the Week – April 14th, 2018

90 Day Men – “A National Car Crash”

The 90 Day Men are a pretty unsung band from the early aughts weirdo math indie prog days. They were composed of Cayce Key (later of Bloodiest) on drums, Robert A A Lowe (later of Lichens, OM, Singer, and many more) on bass and vocals, Andy Lansangan on keys and vocals, and Brian Case (later of The Ponys, Disappears, and FACS) on guitar and vocals. They started off as a very noodley post hardcore band in the vein of June of 44 and Slint before introducing Lansangan’s piano and took on an odd almost incongruent prog tinge that kinda shouldn’t work ,but somehow does. “A National Car Crash” is the stellar closer to their 2002 album “To Everybody” which is def the transitional album of their 3 album discography. The song is a minor epic displaying guitar and piano arpeggios, busy drums, and mumbled vocals before it all locks in at the end for an epic and stately conclusion with a very catchy melody and some very interesting, slightly obtuse lyrics that obviously revolve around a person coupling with some big life decisions while binge listening to the smiths-

I feel like Strangeways Here We Come again
I feel like re-evaluate
She might have said yes if I had asked her to
God, Morrissey is such a bitch
But at least he’s right


Song of the Week – April 2nd, 2018

Dadamah – “High Tension House”

Roy Montgomery is one of my favorite music makers. From merry ol’ New Zealand, he brings such a unique sound to his rock n roll that whatever project name he goes under it bears his unique stamp. His guitar tone is probably my favorite ever, mysterious and hypnotic, putting the listener under his spell with ease. For true psychedelic music fans, Montgomery’s music is the be all end all of what it means to free your mind.



Blake’s Song of the Week- March 27, 2018

Beat Happening/Screaming Trees “Tales of Brave Aphrodite”

In the realm of strange musical bedfellows, there have certainly been stranger than Beat Happening and Screaming Trees (Mike Watt playing with Kelly Clarkson, Bing Crosby and David Bowie, the Judgement Night soundtrack), but still the idea of the ramshackle twee godhead stylings of Calvin and Co merging with Seattle’s most overtly classic rock band of the grunge scene is still pretty weird. The resulting ep however works surprisingly well. Beat Happening tame some of the Trees more meandering moments and the Trees know more than two chords. While the whole ep is definitly worth your time (and in this case, your time amounts to around 15 minutes), today I’m calling attention to “Tales ofBrave Aphrodite.”

Starting off with some really lovely organ and in comes a solid seesaw rock arrangement that feels more in line with BH, but played with a steadiness that is clearly ST, then comes Calvin of BH’s classic baritone careening over the track in the beautiful singsongy way that is distinctly his to bring it all together. The subject matter is classic Calvin- youthful longing and adult lust. References to chocolate nighties, the bible, and cartwheels (among other things he alleges he can’t do) abound. But near the end of the song is the clincher lyric, Calvin let’s his posturing slip in a beautifully honest way when he goes: ‘I cant explain how I feel’. You and me both, buddy


Song of the Week – March 14th, 2018

Dead Can Dance – “Ulysses”

Masters of the rock music equivalent of the Gregorian Chant of The Middle Ages, Dead Can Dance have been the mysterious band in rock music since the early 1980’s. It’s hard to define their style, but as husband and wife duo they reach their apex on the closing track from 1988’s A Serpent’s Egg. “Ullyses” starts as a deep dark chant sang over a harpsichord and french horn duo, leading into a viola concerto with Brendan Perry’s suave vocals enchanting the listener to a cool glide down from heaven. I’m not sure why this song is not more known, as anyone who heard it instantly knows it is a masterpiece.




Song of the Week – March 5th, 2018

Rocket From the Crypt – “Heads are Gonna Roll”

One of the greatest rock bands ever, simply because there is absolutely no pretense to what they do. They just write very smart rock songs and remain extremely consistent on every album. Oddly, their best songs often come on non-album projects like singles and EP’s, collected on All Systems Go compilations 1, 2, and 3. 2 is my favorite, and contains what may be their absolute best song. “Heads are Gonna Roll” is a surefire hit in any other universe where quality means more than all the other b.s.



Song of the Week – February 27th, 2018

The Connells – “New Boy”

The Connells are easy to take for granted, as their brand writing perfect pop songs was in fashion in the late 80’s – early 90’s. As time goes by though, their music reasonates more and more with me, and they had serveral records (Boylan Heights, Fun & Games, Ring) that rank among the best of any melodic rock/pop group. This song is a recent discovery to my ears, with a secret chours at the end of the song that stays in your head for days. Songs like this make it fun to discover new music.



Blake’s Song of the Week – Februrary 21, 2018

Jon Spencer Blues Explosion – “Flavor”

The JSBX are a pretty perfect band for the 90s. A hodge podge of music styles (rock, rockabilly, soul, hip hop, vague noise, and yes the blues (it’s #1!)) held together with blood, analog tape, and sweat (SWEAT!). Jon Spencer, Judah Bauer, and Russel Simmins (don’t worry, if you forget their names, Jon introduces the band later on in true showmanship fashion) bring the necessary party to a scene that could sometimes be a pinch self serious. “Flavor” is the penultimate track on what is probably considered the defining album for the band, Orange. Sounding like at least 3 songs shoehorned together, and much liek the album, probably more a jam than anything, this track is made memorable by Spencer’s infinitely quoatable hypemaning. Starting off w/ a shout out to Matador records head honcho Gerard Cosloy, then going on to proclaim that his band is the best in 17 different cities, and wrapping up with a literal phoned in cameo by Beck. Beck raps a short but sweet couplet and upon asking if Spencer needs anything else, Spencer starts proclaiming ‘YOU GOT THE FLAVOR!’ at mr Odelay until he gives in and starts declaring it as well. The Blues Explosion is NUMBER ONE, indeed!


Song of the Week – February 17th, 2018

Marianne Faithful – “The Ballad of Lucy Jordan”

Faithful’s music is often overlooked by the general public, and her status as Mick Jagger’s ex often obscures the view as well. In the 1970’s, she was one of the few people who could tell stories from a woman’s point of view with enough fire and attitude to get attention. Her passionate, smoked out vocals make her voice very distinctive for her time and her songs hold up well forty years later. Her lyrics are not for the faint of heart, as they are blistering in their content, but she was a pioneer for sure.


Blake’s Song of the Week – Februrary 10th, 2018

The Breeders- “Huffer”

Oh the Breeders, consistently one of the best mixes of pure sugar rush pop w/ loads of off kilterness going on around the edges. Gorgeous vocal harmonies, strange minimalist leads, driving bass, and consistently thoughtful production. Huffer takes what basically amounts to a ramones riff, adds a really squawky gtr bit, and a lead vocal that i’m pretty sure was a first take. My favourite part is when kim gets the lyric wrong in the middle and yelps “fuck”…and they kept that in the final take!!! in this age of pristine recordings, songs fixed in computers, vocals autotuned to erase any sign of mistake, keeping something like that in the song provides the perfect air of authenticity and not over thinking it that more bands need.



Song of the Week – February 6th, 2018

Kris Kross – “Warm It Up”

It’s easy to laugh at this group as merely a product of its time, but the honest truth is a lot of their music holds up very well. Both kids have talent, the lyrics and flow are timely and meaningful, and the energy is very in-your-face. In todays era of over produced and “safe” pop music, Kris Kross would be oddities and perhaps underground heroes. My love of Kris Kross is real, it is not some guilty pleasure. I have their 1992 album Totally Krossed Out on vinyl. They were definitely more authentic then say… Milli Vanilli.


Blake’s Song of the Week – January 31nd, 2018

Codeine – “Sea”

Codeine is either the absolute best band for the cold weather or the absolute worst. An east coast trio featuring Stephen Immerwahr on bass and dower vocals, John Engle on minimalist guitar and initially Chris brokaw on drums till he got too busy playing guitar in the equally awesome Come, and later Doug Scharin on drums. Codeine combine heavy and impactful bass lines, the faint but impactful (there’s that word again) hints of guitar, and sparse, impactful (third times a charm, hope the point is making it across) drums for a sound that ight be best described as the sound of iceburgs crashing into each other. Everything is held tightly and released at the right moments for maximum tension and release. People tend to focus on their album “Frigid Stars” (the first of their meager two record catalog) as that’s the one that established the template, but i find myself coming back to their second album “The White Birch” more and more. Scharin has a heavier touch to the drums, and the songs have a bit more nuance to them. “Sea” is the first track off this album and it’s a mini epic seemingly about a loved one leaving. The song arrangement paints the picture of a cold cliffs edge, watching someone drift away. The chorus hits like the harshest ocean chilled gust of wind. The vocals sounding at first lonely and small, but within that is a soft resignation. The realization that the one who left was right for leaving and maybe things will be ok.


Blake’s Song of the Week – January 22nd, 2018

The Ponys – “Double Vision”

The Ponys were (are?) a band out of chicago who took 70s style NYC punk influences (Richard Hell, television, etc) and utilized them in a way that was interesting and invigorating. After their second album, Celebration Castle, the Ponys lost one of their guitarist and gained the powerful and inovative Brain Case of 90 Day Men fame in that slot, signed to Matador, and released the remarkable album Turn Out The Lights. “Double Vision” is the kick off track from that album. Featuring Case playing a really simple echo drenched chord progression (accented by a really rad bend that totally makes the riff) that lets the band slide into a slinky groove driven by bassist Melissa Elias and drummer Nathan Jerde. Frontman Jered Gummere starts cooing until the band hits the chorus hard and shouty. Wrapping it up with a cosmic and blistering solo (again by Case), the Ponys show what happens when you take your influences and push them into something new and unique.


Song of the Week – January 13th, 2018

The Allman Brothers – “Don’t Keep Me Wonderin”

My relationship with the Allman Brothers has always been a weird one, as being from Muscle Shoals and especially in the country neighborhood I lived in they had a huge impact on the area and literally lived in a cabin right down the street from me. I always liked their music but was not often in the mood to hear it, seeing as how I was surrounded by people who listened to nothing but this type of southern rock. I always recognized some songs stood out more than others, and when a song is truly great, it doesn’t matter what type of music it comes from it transcendes all of that. This song has always been my favorite, probably known more by fans of the band than one of their bigger radio hits. Now that time has passed and I have stepped away from my hometown, I can appriciate the energy and unique vibe these guys gave to rock music.



Blake’s Song of the Week – January 4th, 2018

Obits​ – “Shift Operator”

I feel like obits gets a little overlooked in the grand arc of Rick Froberg bands.  Lacking the total ‘what the fuckness’ of drive like jehu, less heavy than Hot Snakes, but Obits has always had the softest spot in my heart.  Basically operating as a band of dudes who  enjoy each others company, wanna go have a band prac after a shit day at work as an excuse to have a beer, and just explore music they love w/o worrying too much about how familair it might feel.  Obits do slinky sexy garage rock grooves peppered with really interesting ccr meets afro beat guitar maneuvers.  “Shift Operator” is a stand out from their second album “Moody, Standard, and Poor” and also a bit of a strange one for this band.  Featuring extremely saturated, grinding bass, other guitarist Sohrab Habibion of Edsel (a super underrated DC bands you should also check out) fame doing the lead vocal (which is augmented with some really nice dub reggae textures for you headphone listeners out there), and the Obits standard guitar blend (Froberg doing the treble twang, Habibion doing the more textural arpeggios) creating a pretty perfect left turn number to slide on your ‘Rock is decidedly not dead’ mixtape.