Gotye (feat. Kimbra) – “Somebody That I Used to Know” from Making Mirrors (Universal Republic)
I only heard of Gotye last week when he appeared on Saturday Night Live, but since then I’ve already listened to this quirky but affecting song in the double digits. It kind of reminds me of The Pogues’ great “Fairytale of New York.” Both serve as poignant howls of angst and hurt by wounded males that are then complicated (and bettered) by the blunt reality check of the woman who’s had enough of being thrown under the bus in these kinds of songs. Gotye’s passionately yelled chorus sends chills down my spine, and Kimbra’s rejoinder to his pain is, though gentler than Kristy MacColl’s vicious put-downs of Shane McGowan, no less striking and powerful. Backed by a sparse xylophone that sounds as if it were made of sun-dried bones, the singers sound even more intimate, giving the listener the impression they’ve just stumbled into a private argument. - Jake Cole
Lotus Plaza – “Eveningness” from Spooky Action at a Distance (Kranky)
Lotus Plaza, the solo project led by Deerhunter’s (fantastically-named) Lockett Pundt, quietly released one of the year’s strongest pop albums earlier this month – Spooky Action at a Distance. The album pairs the vaguely futuristic stoner-rock of Doves with the type of jangly guitar-pop revitalized lately by acts like Real Estate and Kurt Vile. In “Eveningness,” Pundt lays a smartly humble vocal melody over a two-chord haze of arpeggiating synth and guitars, creating a mischievous kind of harmonic interplay that most artists would kill for and then severely overdo. Who the hell knows what Pundt is singing about – something about memories, regrets, destiny, and “days of eveningness” – but one important statement emerges: Bradford Cox, watch your back. – Kyle Wall
Chief Keef – “I Don’t Like” from Back from the Dead (mixtape) (GB ent)
The Facebook “like” button embodies one of the most unfortunate aspects of the era we live in, our crippled inability to express anything beyond passive, ingratiating mildness, but Chief Keef’s “I Don’t Like” might just be the antidote. Not yet old enough to vote, the Chicago rapper nonetheless expresses his views with more force and assuredness than many adults, and he’s crafted an anthem to tell you exactly what he doesn’t like, including, among other things, people who are fake and disloyal. The pleasures of “I Don’t Like” stem from Keef’s utter lack of equivocation: like the rattling, thumping beat, Keef’s elegantly unadorned lyrics hit you with palpable force. It doesn’t sound like it should be catchy, but it certainly is, partly because of the way Keef leans into the beat, causing it to conform to his leaden, shambling flow. Beyond Keef’s idiosyncratic sense of rhythm and natural songwriting ability, what resonates most of all is the way he expresses the undiluted indignation we feel everyday with unwavering directness. We wish we could vent like this, but until then, we have an anthem: “that’s that shit I don’t like!” - Trevor Link
Kishi Bashi – “Bright Whites” from 151a (Joyful Noise Recordings)
If you want to feel happy for four minutes and 16 seconds, listen to this song. Of Montreal violinist Kishi Bashi has been playing opening sets for the band on their recent tour, dazzling audiences with his distorted violin, often falsetto voice and heavy use of loop pedals to create a big sound even though he’s the only guy on stage. His debut album 151a expands upon that sound within the studio and he’s managed to craft, in turns, an uplifting and haunting gem. The track “Bright Whites” may be the most accessible track on the album, with its catchy acoustic guitar riffs, glistening vocals and percussive bounce. If that’s not enough, the corresponding music video showcases vibrant old-timey costumes and the literal depiction of over 50 common idioms. There’s something for indie pop fans and word nerds alike, and whether or not you’re a confluence of the two, “Bright Whites” is the cat’s meow. – Josh Goller
Blondes – “Lover” from Blondes (RVNG Intl.)
From the swift and steady hands of Brooklyn duo Blondes (via Oberlin College, Ohio) comes “Lover.” These guys have tamed hardware such as the mighty Korg Electribe EMX-1 to weave spiraling beauties of euphoria and throb. Their debut self-titled LP premieres Sam Haar and Zack Steinman as synth magicians who just can’t sit still. Fashioning a dank Meredith Monk sample, “Lover” is a writhing after-hours post-disco twinkle that gets your elbow into a bend and your booty into a groove. Can’t stop, won’t stop. - Sky Madden
