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Bryce Rudow likes music. You can send all hatemail to [email protected] and tweet vitriol at him @brycetrudow (or follow him to make him feel more popular while getting access to random new music he doesn’t have the time to write about). 

Overloaded by all the “new music” options you keep hearing about? We’re here to help.  Here are four songs we think you should fucking know (this week).


First off, because everyone should hear this, the girl that went from the third slot on the Tunes You Should Fucking Know back LAST MAY to present-day super ginormous megastar, Lorde, just released a cover of Tears For Fears’ “Everybody Wants To Rule The World”  for The Hunger Games soundtrack and now all my guilty pleasures are coming together…right now…over me.


  • Blink 182 – “Apple Shampoo”

Last week, All Things Go Mama Bear Hilary Gridley pointed out that it had been a whole 10 years since Blink 182 had released their self-titled album and told us that we’d be commemorating it on All Things Go with a Top 10 Blink 182 Songs list. Now, I would never turn down the opportunity to put my extensive knowledge and familiarity with this band to use, but as someone whose only selection for the list post Enema of the State was the underrated “Go,” I was left wondering why it was a big deal that an album that is only arguably their third or fourth best album was a decade old. I mean, the band was even going to be playing the album in its entirety during two shows at the Palladium in LA. Two shows!

While I’m sure Mark, Tom, and Travis are quite content to relive the days when they released their first “legitimate” (aka “serious”) album, this isn’t their real legacy, and it would be a shame if they were remembered as the elder “punk” statesmen who were “Feeling This” as opposed to the goofy, charming, LUCKY guys they really were.

I’m not sure if its them or THE POWERS THAT BE that are trying to whitewash the group’s adolescent past, but that past is essential to knowing this band. “Dammit,” the song that contains the high-minded “The timing/and structure/did you hear/he fucked her,” being played on HFS when I myself was a decade old was my, and probably many other’s, first introduction to pop-punk. And from a macro-culture standpoint, they’re probably most famous for streaking through a music video for a song that contemplated why the world didn’t want to get crank calls from 23-year-old white kids from California. They were potty-mouthed, prank-loving pop-punkers. That is who they were and how they should be remembered.

Sure, now that I’m at 27, I can see why the world would want to smack the shit out of some 20-something who still acted like they were in freshman year of college. But as a 13 year old who was learning to play guitar by learning Dude Ranch in its entirety, these pop-punk Peter Pans were idols in Hurley shirts.

And because they always seemed to never take themselves too seriously (with the exception of Travis, whom I think has just been quietly going along for the ride all this time), there was no one to yell “Sell out!” as they creeped up the ranks of TRL and became the world’s biggest band for those 21 and under.

It was only then, after they were tenured as rock demi-gods, that they stopped just flirting with real emotions like they did on their Boxcar Racer affair and actually made a record that wasn’t self-deprecating in some way. They finally had the balls to put it on the line and make a record that was pure artistic merit. And I’m glad they ponied up and did that, we should commemorate that maturation, but it doesn’t mean that we have to celebrate this album’s double-digit birthday like THIS was the Blink 182 album we should all give a shit about honoring.

Talk to me in four years when Dude Ranch turns 20 and then we’ll have something to talk about.

So in lieu of something from the bronze-medalled Blink 182, I’m including the song I voted as the number 1 song* in the All Things Go list, “Apple Shampoo,” a song that Mark Hoppus himself once said was his favorite and which contains both the poetic “And I’ll teach myself to live/With a walk-on part of a background shot/From a movie I’m not in,” and the not-so-poetic, “She’s so important/And I’m so retarded.”

God bless Blink 182.

For all 0 of you that care, here is my order for the Top 10 Blink Songs. Feel free to send me emails or leave comments telling me how wrong I am, but I’ll defend these choices to the death. 
1. Apple Shampoo 
2. Carousel (Buddha Version)
3. Pathetic
4. Going Away To College 
5. Dick Lips 
6. Dammit 
7. Don’t Leave Me
8. Go
9. Adam’s Song 
10. Josie


  • Deleted Scenes – “Stutter” 

Thanks for indulging me on that, but now let’s jump from the needlessly nostalgic to the destructively cacophonous with “Stutter,” the new single from local act Deleted Scenes.I don’t know if it’s that I’ve heard of Deleted Scenes for a while and not actually looked into them or if the band name is just one of those great ones that sounds like a band you should have already heard of, but it wasn’t until recently that The Fates decided I had to actually hear this band.

Like a bad How I Met Your Mother episode, I missed their opening set when I saw The Dismemberment Plan at 9:30 Club last month, only for Travis to fall all over himself praising the band. And every now and then their name would pop up in conversations and news feeds. Finally, the premier Paperhauser Alex Tebeleff posted “Stutter” on our new music group, and I was kicked in the face with all that I had been missing.

I semi-recently heard that Modest Mouse is playing around in the studio with the more outcasted half of Outkast, Big Boi, and if you had told me this is what they had come up with, I would have been over the moon. With “Stutter,” Deleted Scenes struts through a vicious indie rock jam that continuously decays and rebuilds itself into something monumental. The occasional invasions of electronics feel almost organic, and the circus shrieks that are grating at first listen are addicting by the fourth or fifth.

So addictive that I had to graduate to a stronger Deleted Scenes fix. I dug into their 2011 release Young People’s Church of the Air and came up with an entire album that deserves more attention than I can properly give it here. With “Stutter” as my entry point to this band, the opening track, “A Litany for Ms. T,” was an unexpectedly beautiful introduction to a record that for the most part successfully finds its way through a litany of genres, styles, and moods (and which barely hints at the vitriolic angst that courses splendidly through “Stutter”).“The Days of Adderall”  grooves with the carefree-but-structured whimsy of Broken Social Scene, “Baltika 9” is what The Beach Boys wish surf rock was like these days, and a few other tracks see them swaying out with all the nu-psychedelia of Animal Collective.

But nothing strikes with the same kind of tightness and intensity as “Stutter” though.

And while they do have an album called Birdseed Shirt released in 2009 that I’m curious to check out, something tells me that it’s what they have on the horizon that I’m going to be most excited about.PS: They’ve also got a single-release show at IOTA this Friday and like I know Virginia oh my God gross, but I just saw You Won’t there two weeks ago, and it was actually worth making the trip out to Arlington. Just keep your head down and don’t engage with anyone.


  • Arnold Dreyblatt & Megafaun – “Home Hat Placement”

I know nothing about either of these groups, so I’m going to let the press release for this amazing 8 1/2 minutes of what former Guest Writer You Should Fucking Know Nathan Scott coined “prog Americana” explain who these guys are (I also plan on buying this album in the very near future so don’t be surprised if I come back to these guys in the semi-near future):

“The meeting of composer Arnold Dreyblatt and psych-folk trio Megafaun shouldn’t be seen as unlikely just because it’s cross-generational, or even (arguably) cross-genre. Such categorizations have to be set aside before taking in Appalachian Excitation. The music on their first collaborative recording fits into many styles, but none quite completely. It’s psychedelic in the mind altering (not electric sitar) sense, it hints at Americana but isn’t actually of any nation…”

And it closes with the adorably apt:

“Categorizing their music is kind of like fitting a hexagonal peg into an octagonal hole: You might be able to force it, but you’ll know it didn’t really fit.”

Now normally, I’d tear the song apart trying to digest a better meaning out of it than the whole obscure-shape peg and more-obscure-shape hole analogy they went with, but I’m too busy just enjoying this song. And you should be too.

Besides, it’s time for another very special edition of…



Editor’s Note: I met Amanda, who is a writer for the excellent Consequence of Sound,  just as the last day of Bonnaroo was becoming the last night of Bonnaroo. She goes into better detail below, but if it wasn’t for her, I would have missed out on seeing the epic David Byrne/St Vincent show in a very up close and personal way. I am forever indebted to her for that one. 

  • David Byrne and St. Vincent – “Road To Nowhere” (live) 

Despite having settled on my tune you all damn well better know, I sat wondering if I should’ve gone with Lorde’s take on Tears for Fears [Editor’s note: this is why we’re friends], or a dash of M.I.A. flipping the world both her proverbial and literal finger, or perhaps something from the killer Sky Ferreira LP (side note: hot damn, the ladies have been running things). After all, post-ellipses, this section states that the tune at hand needs to be known this very week. So what is it about a song that first appeared nearly 30 years ago on Talking Heads sixth studio album, Little Creatures, that makes it a monumental track for the middle of November here in 2013?

Allow me to backtrack.

When Bryce and I met, we were each hanging solo in the Bonnaroo press tent. He asked if he could use an iPhone cord; I told him, “of course” and to keep it. He scooted me along to an open bar where I promptly ordered a margarita. I demanded that he come with to meet my friends in line for the David Byrne & St. Vincent pit. He obliged. Now I sit here pecking away at my computer in Chicago while he kicks ass down in D.C. We’ve spent only a few hours together, total, but the majority of this time took place 15 feet from the aforementioned duo as my mind exploded and my jaw sat on the grass floor of The Farm. So, you know, it just seemed fitting.

Second of all, it seems as though not everyone knows this exact version of the song. At Bonnaroo, we were surrounded by those who had no idea that Byrne & Annie Clark’s set would span both musicians’ respective careers, complete with a 10-piece, mostly brass band, choreography, and a charming rapport between two beloved artists that span generations.

Even if your play count for Love This Giant skyrocketed when the collaboration was released, to see it live is an entirely other, magnificent beast.

This live recording of “Road To Nowhere” is a modern take with a classic spin (the latter is largely thanks to the accompany brass section). Byrne remains the lead on vocals while Clark harmonizes for a feminine touch. The Brass Tactics EP on which this tune lives was released about a year and a half after Love this Giant, and just as it does on Little Creatures, “Road to Nowhere” closes out the five-track gem. As the pair breaths out the final “nowhere” and the song fades out, the applause now transports me back to Roo. After three days of music, camping, and tomfoolery on a farm in the middle of Tennessee, hearing “Would you like to come along?/ And you could help me sing this song/ And it’s alright, baby it’s all right” was one of the most at-home moments of my life. A tune you need to fucking know.


If you/someone you know is up for the task of writing non-sequitered musical ramblings, feel free to shoot me an email at [email protected], tell me I look pretty, and convince me why you should be a Guest Writer We Should Fucking Know.