Don't ever die, Christopher Walken:

This track by BrokenHomes (aka Greedkid and Ray Juss), "Unicron's Toothache," sounds like it's taking giant, menacing yet sparkly steps into a disorienting, rave new world. I feel as if I need to upgrade my nervous system to fully appreciate it.

(Recommended by @GASLAMPKILLER via Twitter, so you know it's a thriller.)

Posted by Intern Ashley Massmann

I moved away from Vancouver six months ago, and find myself pining for most things Canadian as the season changes and homesickness takes hold. That said, I don't think it's pure Canadian lust fueling my excessive love for the video below. I'm pretty certain it'll inspire some serious heart-pangs regardless of how you may feel about those people up north.

If you feel like signing up for Fan Death's mailing list, they'll reward you by giving a free-but-strings-attached mp3 version of the song.

So the Foo Fighters are releasing a greatest hits record. That's fine. I thought they did years ago but turns out that was just their self-titled album. Ba dum bum ching! Anyway, as most bands do, the Foos are also including a couple new tracks on this greatest hits collection and one of them is called "Word Forward."

And for the first 40 seconds, all it does it echo the first 40 seconds of "A Day In the Life." Check out the evidence, my friends, and then join me in slapping Dave Grohl for being so lazy.

Thankfully (or not, in this case) the rest of the song does NOT sound exactly like any Beatles songs. It's just very mediocre.

...now I've got Robbie Fulks on my mind. Autumn brings out the twang.

"Cigarette State":

"Alabama's grand/(the state, not the band)."

And "At The Corner Of Eyelove And Ewe":

"There will be moonlit rides by coach and horse/a fine hotel, some intercourse/and later on, a big divorce/oh how badly it shall end!"

Fulks also wrote the stinging "Roots Rock Weirdos" (a short preview here) which, somebody once pointed out, could be effectively converted to "Math Rock Beardos" by changing just 19 words ("1951" for "1991," etc.).

The new These Arms Are Snakes record Tail Swallower and Dove is still lodging itself into my head, and I'm enjoying every minute of it. Here's a track for your listening pleasure.

"Red Line Season"

These Arms Are Snakes play Vera tomorrow night with DD-MM-YYYY and Constant Lovers. What an excellent bill.

Charles Mudede to thread, please!

Earlier this year, FlyLo posted the mysterious track on his MySpace page, then removed it. Thankfully, it is on YouTube, and you can hear it below, via Gorilla vs. Bear. It's a particularly murky bit of downbeat electronic heaviness with, of all things, a bit of V.I.C.'s dance-rap goof "Get Silly" thrown in at the end.

It has been confirmed that this untitled track is indeed a collaboration between the two downbeat sound scientists. Unfortunately, there are no plans to release the song or for the two to work together again.

If Chris Walla + J. Robbins doesn't brighten your morning, then perhaps we can interest you in some Ben Gibbard + Jay Farrar x Jack Kerouac? Gibbard and Farrar have written a suite of songs to soundtrack a documentary, called One Fast Move Or I'm Gone, about the time Kerouac spent at Big Sur, in San Francisco, and in New York writing Big Sur—the lyrics are cribbed from Kerouac's writing, arranged by Farrar, and sung by Gibbard. You can hear "These Roads Don't Move at NPR and "The Void" via Stereogum.

This music video is so firmly lodged in my head, I can almost feel the bulge in my skull.

It's lodged in my head because it comically and elegantly demonstrates that being a thug is politically radical (in its way) and that all political radicalism has an element of thuggery.

Watch this video while thinking about how much we love Camano Island kid. (And I love the Camano Island kid. I recognize that I'm romanticizing what will probably become a flesh-and-blood tragedy—but I can't help it. I love him.)

You've probably heard the phrase, "he sang the shit out of that song!" Well my friends, in the following video Daniel Ewens sings the shit out of Cat Stevens' "Wild World"—and refuses to clean up after himself. I'm not sure if I mean that in a good or bad way. (Nice shirt, btw.)

Why is it, exactly — besides the recent return of Shaun Ryder and last week's gallop down mid-'90s situationist memory lane — that when we hear "Splitting The Atom," the first proper single in six years from Massive Attack:

We think of "Bob's Yer Uncle" by the Happy Mondays?