I assume ‘Lamentis’ is a sly reference to ‘Melancholia’.

Or his wrist— otherwise, how can he perform the Hand Solo?

For decades, my parents had a ‘Rural Route 1 Box 123' kind of address rather than a ‘123 Main Street’ address. They also had a full-size satellite dish installed in the late ‘80s, and I’m sure the directions were like that. “After the asphalt ends, drive past the deer stand. Take the driveway with the blue shale…

I was led to believe by another Kinja site that there was, uh, a “sex bench”?

To this day, I still quote the old man’s directions. “Turn right where the old barn used to be. Then five miles before the road dead ends...”

When I signed up for Apple TV+, I was confused that there didn’t seem to be a search function for what was streaming-- until I realized there was so little content that a search was unnecessary.

Pixar’s sort of going the Guided by Voices/King Gizzard route, where there’s still quality but it’s being spread somewhat more thinly. Inside Out is the most recent Pixar film that really floored me emotionally, but I still enjoyed Coco, Incredibles 2, Toy Story 4 and Soul. (Onward felt a little like a B-side, but it…

Better watch 28 Days Later on July 1, because it’s leaving *checks notes* 30 days later?!? Oh c’mon!

I find it hard to believe those aren’t wax figures in the header photo.

“Peaches” is a wonderful tune, although I’m also partial to “Boll Weevil”. I associate these guys with summer of ‘95, just because that’s when “Feather Pluckn” showed up on the CD in the CMJ New Music Monthly.

It was so mind-blowing to hear this song on 120 Minutes back in the day.  The next year, KM opened for Violent Femmes at my local college, and 16-year-old me and my buddies ended up in the pit (?) and then crowd-surfed during ‘Martin Scorcese’.

There’s a great story where Clay Tarver of Chavez is driving his kids around, and they start giggling and they say ‘Dad, did you know there was a band called the Butthole Surfers?’ and he was like, ‘Uh, yeah, we used to play together!”

I’ll go to bat for “Autopilot” from Death to False Metal, another mess of an album (although at least that was a B-sides collection). There is something to be said for a tonally consistent departure, which is part of why I like OK Human (and it’s a pretty good batch of songs too). King Gizzard is another band that’s…

Pulp >> Reservoir > Once Upon > Inglorious > Kill Bill 1/2 > Jackie > Django > Hateful 8 >> Death Proof

I saw her in ‘99 ostensibly touring behind WCSE, although half the show’s 18-song set came from Exile. I was a bit lukewarm on WCSE at first as well, and then after the s/t came out I went back to WCSE and I’d say it’s now my 2nd favorite LP of hers. I actually wish the s/t had more of the charmingly pitchy vocal…

XO and Figure 8 are my two favorite Elliott Smith albums, much as I like the Kill Rock Stars stuff.

I got back into Hatfield with 2011's There’s Always Another Girl, and have been following her again ever since. She’s been averaging an album a year, and some of them such as Whatever, My Love and Pussycat rival her ‘90s output.  And there isn’t a weak album in the bunch.

Early ‘00s Pitchfork is really the epitome of the phenomenon when a group of largely immature people have way, way too much influence. And I’m reminded of someone commenting that if, say, NYC Ghosts & Flowers or Liz Phair or Travistan actually deserved a 0.0, what rating would you give, say, a neo-Nazi band?

Ah right, “Little Digger”. That’s on the s/t too.