No introduction needed really. Here are my top 10 favorite 7-inch records for 2012. Hope you like ’em too.
1. The Intelligence – (They Found Me In The Back Of) The Galaxy (In the Red)
First time I heard this song my jaw dropped. It was at the Crocodile in Seattle and Lars introduced it as an old song. At first I believed him, thinking it must have been on some obscure split 7-inch that came out in Moldova. Why did Finburg decide to relegate one of his best songs ever to a release in Moldova? Of course he didn’t. The guy’s not an idiot. Maybe a little nuts. Galaxy was in fact a new song that he initially recorded with another pop genius Kelley Stoltz. It’s the Intelligence at their best which is off their rocker (Why is he in the back of the Vatican with a manikin, and how do you exactly get to the back of the Galaxy? ). The single version is bit more lo-fi than the album version, but I could hear this song over short wave radio and it would still floor me.
2. Felines – Daddy Walk (Hey Girl!)
I love records that surprise the hell out of me and that is exactly what Daddy Walk did. The Felines somehow were either able to bottle lightening or sold their souls to some evil Norse god for this record. What is the Daddy Walk? Who the hell cares when it’s as crazy and wild as the Felines make it sound.
3. Scraps – Secret Paradise (Disembraining)
What if you got a computer girlfriend or boyfriend back in 1982 and it never got updated? That’s gotta be a movie, well at least it’s a song thanks to Laura Hill who records as the Scraps. Her bedroom synth compositions are part early Magnetic Fields and part Blow. Weird and abstract and dazzling, Scrapes make you feel like your floating in an electric ocean in 1982. Consequently that was the year Tron was released.
4. Spray Paint – Pro Knife (S.S.)
Austin’s Spray Paint fly under the radar but make so much noise that they have been detected. Warped, angular, bizarre, off kilter, and bashing their way into existence. When I first heard this I didn’t believe my ears because I didn’t think there ever would be another band that could mix pop and weirdness to such detrimental effects. Nothing this year has sounded this good and fucked up at once.
5. Blanche Hudson Weekend – Just Like Susan George (Odd Box)
Blanch Hudson Weekend blow the roof off the house with their ode to English actress Susan George. This reaches the heights that the Jesus and Mary Chain scraped back in the 80’s. That good. ‘Nuff said!
6. Terrible Truths- Lift Weights (Mexican Summer)
Kindred souls of Aggi Doom and Fear of Men, Adelaide, Australia’s Terrible Truths made their US debut with this icy cool single. Big fluid bass sounds that make you want to wiggle, while the jabbing guitar keeps you on edge. If ever there was a case for a double A-side this is it. This is post-punk bossa nova. Quick, see if you can change that Ipanema ticket to Adelaide.
7. Chips For the Poor – Fistula (Parlour)
A chincy sounding drum machine, guitar riff that sounds like it came from an Analogue Africa compilation, and a singer that sounds part Shaun Ryder and part Mark E Smith: Chips for the Poor sounded like they may have invented themselves in some strange vacuum. If it means more singles like this I hope they become hermits.
8. Cuffs – Private View (Self-released)
Pant’s Yell called it a day rolled up their pants and called themselves the Cuffs. The new name fits. Pants Yell tended towards the move docile end of rock n’ roll. The Cuffs don’t want to snuggle they want to rock and that they most certainly do on their debut single. Powerpop with just a tinge of tenderness.
9. The Paperhead – Pictures of Her Demise (Trouble In Mind)
There seemed to be a lot of quality 60’s inspired psychedelia seeping into the collective conscious this year. The best of it all was the Paperhead’s Pictures of Here Demise. The Nashville band took Piper era Pink Floyd and Face to Face era Kinks and molded it into a hallucinogenic masterpiece.
10. Total Control – Scene From a Marriage (Sub Pop)
A classic case of putting the B-side on the A-side and the A-side on the B-side. Contract is the Charlie Brown side, getting the football pulled away by Lucy and the A-side Scene From a Marriage. The guys were probably afraid of scaring off their core audience or something, but Contract is so good it could hypnotize even the most ardent tatt’d hard core dude onto the slippery slope of synth rock. Nah, not really this is Kraut influenced to the max so it’s got cred. La Düsseldorf in full effect and ya don’t stop. Pick up the needle and put it on again…and it keeps on ringing…