| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| French Disko | Stereolab | 1993 | Willis | Indie Rock, Avant-garde, Synth-pop | Despite the fact that this is considered one of their most recognizable singles, I didn’t know it, and at first assumed it was a Radiohead cover. Though further listening cleared that up. From the driving drum beat to the repetitive tinny rhythmic guitar chords and electronic/spacey flourishes, the anxiety (to borrow one of your descriptors) is quite palpable here. | Alright, I can see you aren’t f’ing around this week! I immediately perked up seeing this selection. This was the 2nd song I heard by them, and the primary reason I’ve been a die-hard fan since. The solo at 1:20 was the prototype for my guitar playing, because it was simple enough for me to pull off, but also gorgeously emotive. The voice, the organs, the chugging beat, the 60’s girl group melody – it all adds up to a cacophony of vintage psychedelia. Doesn’t get better than this. |
| Ahead | Wire | 1987 | Gregg | Post Punk /Avant Pop/Art Punk | At first I hear early new wave in the synths and drum machine – like right at that Joy Division/New Order transition. I never would have guessed they were anything “punk”. This band’s name barely scrapes the deep crevices of my memory, such that I don’t know if I am remembering the chorus “I Remember” or it is simply psychologically planting itself because it is so catchy and natural. Listening to some of their most played songs, they do sound more instrumentally punk/rock in structure/vibe than this one, but I agree more lyrically sophisticated, vocally pleasant and more eclectic than rebellious and loud “punk”, that I could get into. | This song shares a similar ‘train-like’ momentum. It starts subtle, as if to warn you to jump on the platform before the train departs, never to stop again. Wire were always 2 steps ahead, never staying the same. In the Punk world, they were Gods, but they were only punk in attitude. The music was accessible but also weird. The vocals were clean and pleasant, but also dark. They always did just enough to avoid the mainstream. Their legacy is sealed, mostly because they never sold out. They were a true “indie” band, before it was a thing. This remains their most “radio friendly” song, but ofc it retains their raw melodic energy. The hook sticks with you, too. I find myself singing “I remember, I remember” for days after listening. |
| Everybody Told Me | The Linda Lindas | 2026 | Willis | Pop-Punk, Indie Rock | Being Asian-American, I occasionally follow this specific pop- culture. In the 90’s “Giant Robot” was a very popular magazine that grew into a retail store. This punk band started as pre-teens (the drummer was 7), kickstarted from this culture in 2018. Touring north America this month. @the Greek 9/17 The dreamy quality of this track (vocals and keyboard accompaniment) and “lazy” drums(for a punk band) and catchy minor key chorus gives it a really strong post-punk vibe. This track stands out either like a golden gem (for HFD listeners) or a sore thumb (for hardcore indie punk listeners) from the rest of this album, which has several driving LA-punk guitar power chords and hard hitting drums. | I’ve long read about them, but never properly listened til now. This song is excellent. Idk if their other stuff sounds like this, but if it’s anywhere close, I’ve made a giant mistake dismissing them for so long. There are 10-15 popular indie pop artists making music similar to this, but (based on this song only) I think this is better! Hooky, melodic at every turn, and a well-written structure for a modern pop song. Damn. |
| Talking In Your Sleep | The Romantics | 1983 | Gregg | Alt Pop /New Wave | 110% agree this song has always been a standout not just among their other music, but somehow above other pop songs of the same era that I always accepted as fact without listening why so I am glad you picked this before I did. The different phases and parts of this song are so obviously pop structured, but epic. The way the bassline has an additional synthetic slap and does a dance with the guitars. The pre-chorus with the hard hitting synth drums “You TELLLLLme thatyouWANTMEE” The robotic vocal overlays in the chorus are kinda chilling. | When I think of well-written pop songs, this is one of the first that comes to mind. There’s always been that ‘something’ here, a formula maybe, that plays on my heartstrings. The echo in the verses, the tension-building bridge, and then this massive chorus. In that chorus, a strummed 12 string guitar starts chiming in the background and it lifts the song to the stratosphere! That guitar (for me) is the hook! It creates a dreamy, sparkling atmosphere for the big hook of “I hear secrets that you keep…”. It also sounded dynamite on the radio. The production was so crisp and metallic, you could almost hear things in 3D when it played on the airwaves. |
| Games | Molly Burch | 2021 | Willis | Indie Pop | A random algorithm play for me which stood out immediately, and wasn’t sure why at first. Multiple listens reveal that her voice switches between breathy Kate Bush to the belting chime of early Madonna in the chorus when she sings “I’m lost” and “I’m caught”. As i learn more and more little bits here and there of the physics of singing, it sometimes helps me to understand a little of why I like a particular song like this. I need to dive a little more. She is compared to Angel Olsen or Cat Power, but don’t know them either. | Another first listen for me. The name is familiar, but there are many molly’s making music. First thing I thought was “Oh Kate Bush, man”. Then i thought, “the chorus sounds like St Vincent meets Madonna!”. Then I look at your notes, and burst out laughing LOL. I didn’t think I was gonna enjoy this as much as I am. I restarted it 3x. I wish it was 1min longer, even just riding out the ending with a lightweight jam. |
| Something Sparkly (Little Smoky Mix) | Tadpoles | 2026 | Gregg | Neo Psych /Space Rock | I get a total pysch vibe from the Beatles-esque sitar riffs and the Beta Band like vocals. I would have guessed them as UK origin because of this. The effects on the vocals really puts them up floating on some fluffy cloud (or slowly orbiting satellite) The whole song feels like it fits right at the end of a long festival set where they are just vibing and improvising off each other, keeping it going and everyone’s along for the ride. I bet you could loop this and would do well as background for work or a long flight where you don’t actually want to consciously think or take a nap. | These guys came from the NY area, and almost felt like some mythical druggy band that lives underground, only to emerge for some 2am set in a boarded up old church in Alphabet City for 45 people. They existed among us, but only select few truly SAW them.They lived in Hoboken in the mid 90’s, where I worked at the Go-Go Bar DJ’ing, so I eagerly awaited my opportunity to see them perform somehwere. I never saw them, but always drew inspiration from the air of mystery that surrounded them. All that said, I only knew a few songs from them, and loved their hazy psychedelic leanings. But their CD’s were hard to come by, so my knowledge remained limited. Last year, they released this single, and I must’ve missed it. FastFwd to 2 wks ago, and this “remixed” version shows up. I got so excited, thinking this was their first new music in decades, but then found out it was a remixed/re-released, one-off single from ‘25. It’s so damn good. I hear so many influences in here, and I think you will too (Mercury Rev, Pink Floyd, and Spaceman 3 being a few) |
| Moskow Diskow (Remastered) | Telex | 1979 | Willis | Synth-pop, Electro, New Wave | While on my “cruise ship vinyl binge” in the port of Halifax, Nova Scotia, I had about 10 minutes left before the last call to board, so literally ran to a hipster record/coffee shop called “Rooms” who curated their vinyl and had a legit listening station with SL-1200 and stools to sit upon. I felt compelled to buy just for the experience and hastily got this,, and so glad I did. They’re like a less serious, Belgian version of Kraftwerk. | Was very eager to hear what this band sounded like! It’s so Kraftwerky, obviously, but I also hear a ton of Jean-Luc Ponty and Cerrone. Very simple and minimalistic, which is something I admire about early technotronic music. It allows me to appreciate the oscillators and synths and drum machine! There is a cool little ‘hand clap’ snare towards the end that humanizes the whole track. |
| For the Season II | Clinic | 2013 | Gregg | Psych Pop /Post Punk | The beginning has an interesting tinge of R&B and jazz (coming from the synth hi-hat/snare, hammond organ and sax fills). I picture my late friend Chris B. playing that sax fill with his eyes clamped shut and cheeks puffing out. This fits his cool/weird style to the T. I’d compare this to Flaming Lips with the pace and vocal placement (alone in a big empty space) Forgot that you played these guys before. After checking out some of their other work – very interesting, different, and weird. I like it! I can see the Radiohead comparisons in a song like “Come Into Our Room” | This is a strangely beautiful one. I hope not too challenging for some. The vibe is Radiohead-esque, as is Clinic in general, but they’ve been happening/creating simultaneously for decades and sometimes seem to borrow from one another w/o any1 noticing. I’ve had this theory that in another timeline of my life, Clinic are as wildly popular as Radiohead, and roles are reversed. It pains me that this is one of Indie music’s best kept secrets. They are weird, sure. But they are masterful musicians and creators. When I hear this song, it takes me to a very specific daydreamy headspace. The part where the song subtly shifts melody – he sings “but ohhh, I know you. Ohh, I have been you.” Those few measures take my breath away. The whole song seems to exist separately from reality. It makes me sad, happy, and reflective. |
| You Don’t Love Me Yet | Bongwater | 1990 | Willis | Alternative Rock, Experimental | Although I’m not familiar with ANY of their other work or even the original artist Roky Erickson, when this tribute album came out “Where the Pyramid Meets the Eye”, I was impressed by the lineup of artists (REM,Jesus and Mary Chain, Primal Scream,John Wesley Harding, ZZ Top” yet the music meant nothing to me, except for this awkwardly sincere song. I often played this at the end of my own “under cover” show in college. It is so grey and gloomy. Although basic acoustic guitar chords, the effects are compelling. the vocal layers create a sense of very empty space. The slide guitar is like a single-soul standing alone on a tiny patch of land in a motionless subterranean sea. Love how the ending picks up tempo and it kinda brings you back in to reality | What a wraparound to this one! I’m familiar with the original (I’m a fan of Roky and the 13th Floor Elevators, his OG band), and in fact – I remember this CD being out! I never purchased it, somehow, but I’d heard a few of the other songs by artists that I liked on the comp. Since I didn’t know this band’s name – I guess I avoided listening. So much about this I love. She almost sounds like it’s HER song, cus she sings with such comfort and conviction. At times, I almost hear a little Sinead (dare I say). The ending is captivating and epic. |
| Luka | Suzanne Vega | 1987 | Gregg | Avante Pop? | This song came out alongside Madonna, MJ, U2, George Micheal, Los Lobos… top 40 was saturated with different styles (what a time to have a radio!) so there was something refreshing and grounding from its clean, folk-rock simplicity, with the point of view being a repressed, doe-eyed emo character sorta sharing/not sharing. (“don’t ask me anymore”). I was instantly enamored. I bought this album Solitude Standing on tape, but at 17, the rest of the soft/pensive works were above me, so I’d just rewind it over and over for Luka – however the very last song, Tom’s Diner was like a nice secret bonus you had to go past a long quiet space. | This one might seem frivolous. I don’t ever remember a time when I didn’t love this song to the bone. When it was released, I was 11. At the time there was a national news story about a little girl who was beaten to death by her parents. Lisa Steinberg maybe? Anyway, I remember thinking this song was about her, so it made me emotional when I’d hear it (as a kid). Eventually, in later years, I became infatuated with the breezy, chimy quality of the music behind her. It could almost be REM or 10,000 maniacs playing. Funny enough, the last 30 sec or so are my favorite part, even though it’s instrumental w/ this Cure-like guitar solo ringing over the somber finality. Such an impactful piece of pop music. We’d never hear a song like this on the Top 40 in 2026. |
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