It's funny you mention the sounds of Good Kid, M.A.A.D City, because I feel like the reason I could never do more than appreciate that album was because of the production. Whereas I'm all about what To Pimp A Butterfly is doing musically.

Shamir! I knew I was forgetting something really great. That album is infectious.

Some good choices, but there hasn't been an album put out this year that I've listened to as much as Courtney Barnett's. The Young Fathers album is really great, too.

I'm a big fan of theme songs that explain the premise of the show, so I love With Special Guest Lauren Lapkus.

Yeah, the acoustic version is great, but it's nearly as cathartic to listen to as the original.

Torque? You mean that film with Adam Scott?

Any time Underworld is mentioned somewhere, I can hear "Have you seen any of the Underworld pictures?" in the PFT Len Wiseman voice in my brain.

I was never that into SVU or the mothership, but I had a soft spot Criminal Intent because of its willingness to engage in more pulpy weirdness, like giving Goren an archnemesis and tortured backstory.

I'm just surprised because I had always just assumed that Glenn Beck is an Andrew WK Is Not Real truther.

Speedy Ortiz's album is really fucking solid, too.

You gotta love the mindset that believes that racist and homophobic remarks are the sorts of things that you say "when you were in a giggly mood after a glass of wine."

I can definitely see where you're coming from, but I think the first album has some pretty great hooks, usually more in the vocals than the guitars. The riff on "Tiger Tank" is particularly great, as are the ones on "Hitch" and "Fun". And everything about "No Below" is catchy.

Every review of Speedy Ortiz mentions Pavement, but I dont't think they don't sound that much like Pavement at all. I could maybe hear it in the lyrics, but not the guitars, which are heavier and more riff-focused. I get more of a Goo-era Sonic Youth vibe from them.

I get the impulse behind this idea. It makes the album easier to digest as a complete artistic statement. But, I dunno, I kind of really love long ass albums. I like finishing an hour long album and feeling like I'm different afterwards, like I've been somewhere. I remember reading an article someone wrote about Exile…

When I was a teenager and guitar solo nerd, I had a special place in my heart for "Reach Down" because it let Mike McCready just jam in a way that he never quite got to do in Pearl Jam. There's a great live video of it online somewhere where McCready kicks in and after a minute or so Cornell and Vedder are like, "You…

This is one of those "I can't not read this in his voice" interviews.

I will say, the one thing that made being dragged to see Exodus: Gods and Kings tolerable was the fact that that movie cast God as a petulant twelve year old white boy. Because if there was ever a better characterization of the God of the Old Testament, I have not seen it.

When I was a kid in South Texas, Selena was HUGE. I still can remember how, after she died, my dad and a friend of his arguing about whether or not it was comparable to John Lennon being shot.

I think people just forget that it wasn't made by the writer-director duo and human equivalent of a bile and shit sandwich Aaron Seltzer and Jason Friedberg.

Did anyone else read "Kathleen was-" and immediately have a little heart attack because they thought Kathleen Hanna had died?