I second this recommendation. I'm so-so on the movie itself - I guess I would say I admire it more than I actually enjoy it - but the soundtrack is undeniably great.

I'll take this opportunity to beg the film, tv and commercial industry to please, please, please, please, PLEASE knock it off with the whole eerie, portentous cover versions of old pop hits. That shit is beyond played out. It was already tiresome by the time The Social Network trotted out "Creep," but it's only gotten…

Is Swift going to make Adams remove this album from Spotify?

Yeah, the whole thing is about the paranoia that comes after being assaulted, of how she can't walk alone anywhere without feeling like someone could come up behind her and overpower her. The video is all about the discomfort of placing herself in male dominated situations.

I spent a few brief months in high school believing that the guy who wrote "Cocaine" was in the Velvet Underground. I thought he was a guy who specialized in songs about specific drugs, until I ciphered out that John Cale was not JJ Cale.

It was years before I realized that "Love Vigilantes" by New Order was a ghost story. I had thought it was just the sad tale of a bureaucratic snafu. Granted, I thought a wife getting an erroneous telegram was a weird idea for a song, but the actual explanation never occurred to me.

It took me years before I noticed they were two different guys. I still have trouble remembering which is which, though I think Horn was the one who more obviously traced Brianna Banks video covers for his female poses.

Reading this review made me feel embarrassed for the AV Club. And it's not even the first time in the last couple of weeks where I have been completely flummoxed by an AVC writer's take on something, to the point that I wondered if they were even discussing the thing I thought they were discussing.

I worked for a religious non-profit back in the '90s, so the only radio station I felt safe having on in my office was the classical station. One day there was a meeting in my office and as it went along I became aware that the radio was playing something pretty incredible, a long, slow minimalist piece that was…

I think the reviewer is really overstating the 80s-ness of this album. Unlike him, I actually lived through the 80s and this album doesn't sound a whole lot like I remember that decade sounding. It maybe has the atmosphere of Altered Images' Bite album and the Cocteau Twins hover over the whole thing, but otherwise…

I'm especially impressed by how it strolls through the neighborhood of Broadcast and Stereolab while still sounding distinct from either one of those bands - Saunders takes the same essential building blocks in a much hazier, dream-pop direction than Stereolab or Broadcast usually did.

I seem to recall my grandpa saying the exact same thing about "She Loves You" and "I Want to Hold Your Hand."

I doubt it's going to get a whole lot of attention in this country, but if you're looking for a really great Krautrock-leaning pop album, check out Y Dydd Olaf, the new solo album by Gwenno Saunders from the Pipettes.

When I'm ready to throw in the towel on a project or conversation I've grown frustrated with, I'll generally mutter "Reet mazer. Reet mazer yow" - Snitter's last words as he and Rowf apparently go under for the last time in The Plague Dogs.

If ninjas had been as popular in the 70s as they are now, I'm sure they would've worked that in to the show at some point.

Fonzie = Wolverine

Wait - can I change my answer to the Cat on a Hot Tintin Roof digression on the Food Fight episode of The Flop House?

Jamie Farr's single best line delivery of the entire series.

The same answer I give for everything - super karate monkey death car.

Agreed. The Dissolve was truly perplexing in how hard it made people work just to access its generally top notch content.