"ISLANDS OF MEN" GEESE (2025)

Just like that, Geese seems to have exploded overnight with a swift, Strokes-like trajectory. I don’t remember the last time I was this shocked and floored hearing a new album. Getting Killed brings even more swagger than 3D Country. In my mind, it solidifies the band’s mission to reinvent rock ‘n roll with the blunt, defacing force of a wrecking ball. This band will be around for a while. And as I listened track after track, I wondered if the new, weird thoughts and feelings I had listening to Getting Killed for the first time were similar to the things listeners experienced when they first heard Dark Side of the Moon or Songs in the Key of Life.

The music is on another level. The drum sequences are tribal-like, equally urban and bucolic. The guitar and key riffs stubbornly opt for chord progressions that you just don’t see coming. But the most defining aspect of Getting Killed has to be Cameron Winter’s voice and lyrics. He spews and laments as he wields his own words. The lyrics becoming his world for ruminating on topics few dare to explore. And Winter does it with the foresight and craft of some of the true luminaries in music – like a Dylan of our times. One listen to “Islands Of Men” simply isn’t enough to unpack what he’s doing here.

It’s a satire of the fragility of masculinity. Few have written about this topic. Even fewer have sung about it. It’s no banger to be clear. But it may be one of Getting Killed’s most provocative anthems. “Islands of Men” is built in two key movements. The first section with its prodding, pulsing Bowie-esque vibe. It slowly dials up in intensity before boldly bowing out to the second movement. This is where the song resets. Where Winters hangs back, allowing the drums, guitars, bass and keys to blend into a mesmerizing swell. They say everything else that’s left to be said. This is a song for our time.

”YOU CAN’T KEEP RUNNING AWAY FROM WHAT IS REAL AND WHAT IS FAKE.

"PIONEER TO THE FALLS" INTERPOL (2007)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

Following up with a noteworthy album after Turn On The Bright Lights and Antics seemed like an impossible task. As a hardcore Interpol fan at that stage, I was prepared to be let down by my own impossible expectations. Our Love To Admire just didn’t have the same grit and edge. And that’s true, it’s just a different album. Several years later, I’ve come to embrace its uniqueness and like it just as much as the first two heralded albums. “Pioneer To The Falls” is a perfect opener to a different exploration of sound for the band.

When I think of the band’s more haunting tracks, “Pioneer To The Falls” is up there with the best of them. Daniel’s guitar starts out slow, languid and hypnotic, cleverly leading us into Paul’s opening verse. But then the guitar returns before launching into the second verse with that familiar soaring and grating motif that Daniel is known for. But the element that delivers the most haunting effect is the keyboard line from Carlos D. It crawls under your skin and stays there – and a reminder of how exceptionally talented he was as a musician and composer, not just a bassist. The song is nothing without that riff.

“You vanish with no guile and I will not pay, but the soul can wait.”

"LOOKING FOR ASTRONAUTS" THE NATIONAL (2005)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

Alligator was the first key turning point in The National’s evolution as a rock band. The layers of alt country were shedding away and being replaced by an edgier rock sound that would continue to bloom on Boxer. Unlike Boxer, Alligator was an album that I became acquainted with years after it was released. This sort of discovery is like flipping back at earlier entries in a journal. On Alligator, we see some of The National’s most brash lyrics (think “Mr. November” and “All The Wine”) as well as some of their most mysterious, including “Looking For Astronauts”.

While Berninger’s lyric writing has improved by leaps and bounds with each album, what strikes me most about “Looking For Astronauts” is how similar it is to current era National. Berninger’s vocal delivery is more or less the same. Bryan’s unexpected rhythms are there. And the intricate strumming is reminiscent of many songs from the band’s past ten years. What’s different, however, is Berninger’s lyrics seem more esoteric here. Is he speaking literally or figuratively, or both? I only discovered today that Berninger knew Neil Armstrong, a friend of his uncle. Coincidence? Maybe not.

“You know you have a permanent piece
Of my medium-sized American heart.”

"LET IT HAPPEN" TAME IMPALA (2015)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

Currents was the first Tame Impala album that I heard from beginning to end. It arrived at a time when I was listening to music at work in an open bullpen environment where we all took turns playing albums and playlists off our laptops. My coworkers didn’t always agree on what was considered good, but everyone seemed to gravitate toward Currents. It seemed to satiate a variety of thirsts with its psychedelic leanings, disco influences and prog-like song structures and instrumentation. There was something for everyone. As the opener, “Let It Happen” was an intriguing, gripping segue into the rest of the album.

Clocking in at nearly eight minutes, the song is full of infectious hooks, experimental interludes and unexpected production explorations. And it’s not often that a track has all three of those features. “Let It Happen” is a song about going with the flow, and the music seems to adopt that theme as its own. It’s perhaps one of the most ambitious singles ever created and a shining example of the songwriting and production prowess of Kevin Parker.

“If my take-off fails, make up some other story. But if I never come back, tell my mother I'm sorry.”

"QUEENS OF THE BREAKERS" THE BARR BROTHERS (2017)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Finding The Barr Brothers was one of the most glorious moments for me as a music fan. They had elements of familiarity – ones I couldn’t always quite put my finger on. But at the same time, they seemed to occupy a space all their own. Never contrived or boring. The guitars were often competing head to head with the harp, making sounds that seemed to to dig deep into my bones. When they promoted Queens Of The Breakers, I was fortunate to catch them as they passed through New York. They played a phenomenal set list that included the album’s title track.

“Queens Of The Breakers” possesses a carefree spirit, light in its musicality and sounds great in the live setting. It reminds me of Fleetwood Mac’s “Hold Me” with its high-soaring guitar riffs. The unpretentiousness and authenticity of the lyrics is something to behold. Lyrically, “Queens Of The Breakers” sounds more like a letter to an old lover than a rock song.

“On a red-eye flight from New York, I was looking for you down on the ground.”

"LEIF ERICKSON" INTERPOL (2002)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 2002

Turn On The Bright Lights, in retrospect, seems to garner even more accolades for its contributions to the post-punk revival movement than when it was first released. It was such an important album coming off the heels of 9/11. To this day, it’s viewed by many to be the best Interpol record from beginning to end. (Not for me though, that would be Antics). TOTBL is full of grating, rhythmic bangers that cut to the bone. They are anthems of early 2000s indie rock. And the track that I turn back to over and over again is one of the lesser celebrated ones: the closer “Leif Erickson”.

Images of navigating murky waters in the bedroom at the dead of night are conjured up every time I hear it. Kessler’s and Banks’ guitars weave in and out like they’re making love to each other. Meanwhile, Carlos D (God, I miss this guy) and Fogarino lay down a rhythmic bed that ships you off to sea in your pajamas and all. As a closing track, it leaves a certain taste in your mouth and a sense of anticipation of what’s to come next for this very important band.

“SHE SAYS IT HELPS WITH THE LIGHTS OUT. HER RABID GLOW IS LIKE BRAILLE TO THE NIGHT.”

"WHITE WINTER HYMNAL" FLEET FOXES (2008)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 2008

By no means is Fleet Foxes on the same level as CSN&Y. CSN&Y are music legends, the kind that maybe come around once every 20 years or so if we’re lucky. But Fleet Foxes isn’t that far behind. What Fleet Foxes pulled off in the 21st century is impressive. They put power harmonies center stage once again. And they did it with a folk-inspired sound that’s earthy and natural, a far cry from post-punk, dream pop or any of the key genres of their contemporaries. “White Winter Hymnal” remains one of my go-to Fleet Foxes tracks.

Like many Fleet Foxes songs, “White Winter Hymnal” shimmers with a cascade of echoing melodies from the mountains. The song is sung in rounds, a traditional form of singing that seemed to be given a new lease on life through the ban'd’s trademark harmonies where each vocal part comes in round after round. This approach has a way of sweeping me up and away, regardless of circumstance. And the words overdelivered. They felt more like classic literature than song lyrics, leading me to believe the character Michael was an allegory for something far greater.

“I WAS FOLLOWING THE PACK. ALL SWALLOWED IN THEIR COATS WITH SCARVES OF RED TIED 'ROUND THEIR THROATS.”

"LIGHT YEARS" THE NATIONAL (2019)

This month, I’m jumping into the #APlaceInTheSong challenge from @JukeboxJohnny2. Great songs have that special ability to describe places in a way that makes us feel like we’re right there. Each day, I’ll pick a track that I think accomplishes that feat.

Year: 2019

A couple of months before the pandemic, I saw The National at NYC’s legendary Beacon Theater. They showed excerpts from a short film directed by Mike Mills, featuring songs from I Am Easy To Find—and ended with just a small handful of the fan favs. That night, I saw an evolution of the band that I’ve loved for many years. It’s not that they lost their edge, but they were older, wiser and more contemplative now—and “Light Years” was their beautiful banner statement for this new era.

The National will be back in NYC this summer, and it’s almost certain they will play “Light Years”. It represents an aspect of what they do best: ballads that speak on a deeply personal level, not some contrived set of words. I do miss the harder, louder, faster side of the band which has taken a back seat on the last two albums. But “Light Years” – with Berninger’s masterful lyrics, the piano interludes and atmospheric accents – is a reminder that few bands do ballads better than The National.

“I was always ten feet behind you from the start.”

"YELLOW IS THE COLOR OF HER EYES" SOCCER MOMMY (2020)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 2020

After a two-year pause due to the pandemic, Soccer Mommy was the first concert I attended. It felt like I was getting reacquainted with an old friend. At the time, people weren’t used to standing in crowded spaces. But there we were at Brooklyn Steel. The concert didn’t disappointment. The music was there to heal wounds and revive us – even as Sophie Allison sang songs of loss and remorse, including “Yellow Is The Color Of Her Eyes”.

The Color Theory album – and this song in particular – reflect on Allison’s mother’s terminal illness. It’s deeply reflective and personal, and seemed perfect for the times as people were losing loved ones to COVID-19 at the same time. Allison was an indie pop artist that we could easily identify with. The lyrics in “Yellow Is The Color Of Her Eyes” seem so sad and hopeless, but the treble notes on her guitar add just enough levity to remind us we’ll get through this.

“Loving you isn't enougH. You'll still be deep in the ground when it's done.”

"DARKNESS FADES" SHARON VAN ETTEN (2022)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 2022

We’ve Been Going About This All Wrong is the first album from Sharon Van Etten that I’ve listened to repeatedly from beginning to end. Van Etten’s trademark near-catatonic vocals are elevated on her newest album. Much more ethereal. Much more impactful. Each song takes my breath away. The track sequence plays a big role in this. Ebbs and flows built to lash out to and get lost in. “Darkness Fades” ushers us in, beckoning us to fall in line. Or just get out.

The opening guitar strums are so unassuming and so forgetful. Honestly, they require a bit of patience to get through. But the waiting is paid off tremendously at the 1:22 mark. From there, the immense instrumental layering of synth parts, guitar effects and ominous drum beats jostle you into a state of liberation. You can’t slow down this momentum or counter this force. After over a hundred listens, it still catches me off guard as I wait with bated breath for what’s next.

“I'M LOOKING AT OUR GRASS. I'M STRUGGLING FOR WORDS. I'M DREAMING OF A PLACE. I HELD CLOSE IN A STATE. DARKNESS FADES.”

"MISTAKEN FOR STRANGERS" THE NATIONAL (2007)

This month, I’m jumping into the #APlaceInTheSong challenge from @JukeboxJohnny2. Great songs have that special ability to describe places in a way that makes us feel like we’re right there. Each day, I’ll pick a track that I think accomplishes that feat.

One of my all-time favorite bands is The National, a band that has seemed to always sync up mysteriously well with my own life. Boxer came out the year my wife and I got married – and High Violet was released weeks before our first child was born. The music always seemed to usher me into new seasons – with Matt Berninger’s gifted approach to lyrics that sound more like conversations with eccentric friends. I’ve seen the band perform live a few times. While “Mr. November” and “Abel” have been some of the more anticipated bangers on tour, for me it was always about the quiet stoic power of “Mistaken for Strangers”.

Berninger delivers the lyrics nearly in monotone, as if in a trance. “Showered and blue-blazered, fill yourself with quarters,” he announces in his trademark bass delivery. “Mistaken for Strangers” is the quintessential National song in many ways. Frenetic, yet calculated. Seemingly on the verge of losing control, but hanging on still. Bryan Devendorf’s drum rolls seem to be having seizures in between verses, while the Dessner brothers contribute these guitar parts that an industrial feel to them like fellow Boxer tracks “Brainy” and “Guest Room”. “Mistaken for Strangers” is a song that celebrates the everyday man poeticism of Matt Berninger.

“You get mistaken for strangers by your own friends When you pass them at night Under the silvery, silvery Citibank lights.”

"APARTMENT STORY" THE NATIONAL (2007)

This month, I’m jumping into the #APlaceInTheSong challenge from @JukeboxJohnny2. Great songs have that special ability to describe places in a way that makes us feel like we’re right there. Each day, I’ll pick a track that I think accomplishes that feat.

This was one of the first National songs I heard. Boxer still remains one of my favorite albums from the band. Over the last couple of album releases, the band has mellowed out and certainly lived up to the reputation as sad dad rockers. There’s a lot of great songwriting on their latest record, but I miss the more energetic side of the band - and even just some of the great mid-tempo jams like the somewhat underrated track, “Apartment Story”.

In the recent New Yorker magazine article that highlighted the band, bassist Scott Devendorf described his brother Bryan Devendorf’s drumming style as “machine organic”. It’s a perfect summary of the unique percussion style that drives “Apartment Story” and so many National songs. The drumming seems to accentuate the malaise and exhaustion of trying to be social, but then finding comfort in that one person who you can just be yourself with. It’s not among my favorite National songs, but it has everything I love about them.

“Tired and wired, we ruin too easy. Sleep in our clothes and wait for winter to leave.”

"MISTAKEN FOR STRANGERS" THE NATIONAL (2007)

This month on Twitter, @sotachetan hosts #BrandedInSongs – which is a head-on collision of my personal world of music and my professional world of branding and advertising. The challenge is to simply pick a song with a brand name in its lyrics or title. I added one more criteria to my picks, which is this: the songs themselves must be as iconic as the brands they mention. No filler here.

One of my all-time favorite bands is The National, a band that has seemed to always sync up mysteriously well with my own life. Boxer came out the year my wife and I got married – and High Violet was released weeks before our first child was born. The music always seemed to usher me into new seasons – with Matt Berninger’s gifted approach to lyrics that sound more like conversations with eccentric friends. I’ve seen the band perform live a few times. While “Mr. November” and “Abel” have been some of the more anticipated bangers on tour, for me it was always about the quiet stoic power of “Mistaken for Strangers”.

Berninger delivers the lyrics nearly in monotone, as if in a trance. “Showered and blue-blazered, fill yourself with quarters,” he announces in his trademark bass delivery. “Mistaken for Strangers” is the quintessential National song in many ways. Frenetic, yet calculated. Seemingly on the verge of losing control, but hanging on still. Bryan Devendorf’s drum rolls seem to be having seizures in between verses, while the Dessner brothers contribute these guitar parts that an industrial feel to them like fellow Boxer tracks “Brainy” and “Guest Room”. “Mistaken for Strangers” is a song that celebrates the everyday man poeticism of Matt Berninger.

“You get mistaken for strangers by your own friends When you pass them at night Under the silvery, silvery Citibank lights.”

"FLOAT ON" MODEST MOUSE (2004)

For the next 30 days, I’ll be taking the #AprilAcrossAmerica challenge, picking one song a day as I make my way across the country and across genres at the same time.

Day 29: Portland, OR

They started in Issaquah, WA, but have currently set up shop in Portland. By the time Good News for People Who Love Bad News was released, Modest Mouse was one of several dozen successful indie rock bands out there. While they weren’t my favorite band, I liked the unique sound they carved out. No one could ever say Modest Mouse was a knock-off. They do things their own way, most notably through their raw approach and the genius frequent mic’ing up of every band member as they sing vocals together. “Float On” is a song I cherish on many levels.

Within the first 20 seconds, the two iconic guitar parts converged like Dr. Jekyl and Mr. Hyde – and modern musical history was made. One riff soars on high with a bright treble layer while the other skittishly dots the landscape. Isaac Brock is at the helm on vocals, but Eric Judy and Dann Gallucci join in like some kind of group therapy session, spewing positivity in unison. I love all of these core instrumental facets, but what makes “Float On” one of the greatest songs from a decade characterized by war, recession and natural disasters is the message. Somehow, some way, we’ll all get past this. We’ll all float on.

“BAD NEWS COMES, DON'T YOU WORRY EVEN WHEN IT LANDS. GOOD NEWS WILL WORK ITS WAY TO ALL THEM PLANS.”

"HUMAN" THE KILLERS (2008)

For the next 30 days, I’ll be taking the #AprilAcrossAmerica challenge, picking one song a day as I make my way across the country and across genres at the same time.

Day 26: Las Vegas, NV

From the outset, I knew this roadtrip across America would require a visit to Vegas. After Elvis, there may not be an artist more tied to this place than The Killers. What a breath of fresh air they were when Hot Fuss descended on the music world. They weren’t subtle at all with their 80’s-influenced sound. More like a kick in the nuts than a nod. The band’s sound wasn’t the only thing that found its footing in that decade of music. Brandon Flowers’ vocals and songwriting are very eighties in their own way as well. While Sam’s Town felt more masculine and more rock, Day and Age had a lightness to it that suggested a band that wasn’t ready to be pigeonholed.

“Human” is that rarest of pop songs that’s incredibly catchy and surprisingly cerebral at the same time. The Killers up until this point wrote songs that felt personal, but “Human” was philosophical and showed the band’s ability to write about bigger things in life in a more accessible way. It doesn’t rock like “When You Were Young”, “Jenny Was A Friend Of Mine” or “Mr. Brightside”, but it rolls.

“Pay my respects to grace and virtue. Send my condolences to good. Give my regards to soul and romance. They always did the best they could. And so long to devotion. You taught me everything I know. Wave goodbye. Wish me well. You've gotta let me go.”

"THE GREAT SALT LAKE" BAND OF HORSES (2006)

For the next 30 days, I’ll be taking the #AprilAcrossAmerica challenge, picking one song a day as I make my way across the country and across genres at the same time.

Day 25: Salt Lake City, UT

The closest I ever got to Salt Lake City was Park City. But I feel strangely close to it after hearing this track again. While the song is known to actually be about incidents that have occurred in both Lake Murray, SC and Salt Lake City, UT, the power of the song is that it transports the listener to a different time and place. It feels like we’re there. Band of Horses wrote a song that recounts memories and people like a page ripped out of someone’s journal.

With its unforgettable opening guitar riff and Ben Bridwell’s sky-high tenor vocals, “The Great Salt Lake” has the add significance of being the song that helped put Band of Horses on the map. An earlier recording of the song appeared on the band’s first EP, which caught the attention of Sam Beam (Iron & Wine). Band of Horses ended up becoming the opening act for Iron & Wine’s upcoming tour, and the rest is history.

“Well, if you find yourself falling apart, Well, I am sure I could steer The great salt lake.”

"OVER MY HEAD (CABLE CAR)" THE FRAY (2005)

For the next 30 days, I’ll be taking the #AprilAcrossAmerica challenge, picking one song a day as I make my way across the country and across genres at the same time.

Day 22: Denver, CO

As long as I can remember, pop charts in the U.K. and U.S. have told very different stories. The U.K. is the poster child for openness to alternative and experimental approaches in popular culture, while the U.S. is more of a story of vanilla musical expressions. Sure, there are exceptions, but overall there’s a very wide gap in terms of what makes the pop charts in the U.K. compared to the U.S. One of the rare exceptions has been the popular embrace of The Fray, who became universally embraced on both sides of the pond for “How to Save a Life” and the subject of this post, “Over My Head (Cable Car)”.

You might like the song for different reasons than me. But what the track did for me was provide this rare balance of highly accessible and somewhat unpredictable. It starts off easy and catchy, relying on that simple, great melody and lyrics that are equally simple, making it a song you want to sing along to. The unpredictability happens in tempo slowdowns and upticks and gorgeous instrumental interludes, including the breakdown at the 2:45 mark, where the rhythm guitar dances as the bass line nosedives.

“With eight seconds left in overtime, she's on your mind.”

"THE WAY WE GET BY" SPOON (2002)

For the next 30 days, I’ll be taking the #AprilAcrossAmerica challenge, picking one song a day as I make my way across the country and across genres at the same time.

Day 19: Austin, TX

Growing up, I was fortunate to have the opportunity to take piano lessons. Looking back, I realize it was one of the inroads that led to my deep passion for music. The way those keys could be played together to make beautiful sounding things, it was therapeutic. I played celebrated composers like Bach and Brahms and did piano renditions of movie soundtracks like Rocky and E.T. But I think I would’ve stuck with piano longer and enjoyed it more had I been given the opportunity to play it like Spoon does on “The Way We Get By”.

The unusual sound of Spoon is characterized by an inversion of the standard rock formula of guitar as lead and piano or keys as secondary. Spoon has carved out a prolific and incredibly consistent catalog over the years with the piano at the forefront, sometimes with guitar as a rhythm instrument or, in some cases, no guitar at all. With “The Way We Get By”, they string together these piano chords and hand claps to create something that feels like it could’ve been written in the 1950’s. I have a handful of favorite Spoon tracks, and this one’s near the top of my list.

“We found a new kind of dance in a magazine. Tried it out, it's like nothing you ever seen.”

"BLOODBUZZ OHIO" THE NATIONAL (2010)

For the next 30 days, I’ll be taking the #AprilAcrossAmerica challenge, picking one song a day as I make my way across the country and across genres at the same time.

Day 8: Cincinnati, OH

I have no direct ties to the state of Ohio. And I still have no idea what exactly a bloodbuzz is. But from the first time I heard it, I’ve always had a strong affinity for “Bloodbuzz Ohio”. It’s one of my favorite National tracks of all time. This is a song that I’ve never grown tired of. It never lost its luster after all this time. And when I see the band play live, it’s one of the songs I look forward to hearing the most on the setlist. But, why?

“Bloodbuzz Ohio” is actually not a song about Ohio. While that’s where The National hail from originally, the song is so much more than that. It’s actually a coming-of-age narrative. It’s about how when we return home after a long time away, it’s not just the place that has changed, we’ve changed so much as well. The song reminds us to look back for a larger perspective on our lives. And to see that, while the place we call home may change, there’s always a deep affinity and love for the places we came from.

“I WAS CARRIED TO OHIO IN A SWARM OF BEES. I NEVER MARRIED BUT OHIO DON'T REMEMBER ME.”

"WHERE IS MY MIND?" PIXIES (1988)

This month, I’m looking back at movies and tv shows to rediscover songs that graced the screen. The scenes and the music are inseparable. They’re engrained in our heads and our hearts. And they’re proof that the best music we have doesn’t exist in isolation. It attaches itself to a moment or an experience. #SceneSongs

Movie: Fight Club

While it may not be in the upper echelon of my personal Pixies favorites, “Where Is My Mind?” has cultural implications that far outweigh the rest of this great band’s catalog. That’s, of course, because of Fight Club, which was not just a terrific film, it was a cultural phenomenon. Controversial and influential, Fight Club ended with this song — and then continued on in public discourse and in private fight clubs across the U.S.

“Where Is My Mind?” is an introduction to the irresistible, jarring world of the Pixies. It’s a coming out party of quiet-loud-quiet dynamics that mimicked the cinematic rhythms of the movie and that would define the Pixies imprint on the music world. They weren’t Nirvana. Or Radiohead. Or Smashing Pumpkins. But they were the ones that influenced all three. We may not have any of those bands without this song. What I’m drawn to on this track: Black Francis going from tentative to full-blown insane. I also think the simple, pervasive guitar riff trumps the mini guitar solo.

“WITH YOUR FEET ON THE AIR AND YOUR HEAD ON THE GROUND, TRY THIS TRICK AND SPIN IT, YEAH.”