The Best 1-2 Punches

This little musical experiment combines everyone's love of lists (really!) with two of my favorite theories/mannerisms: the first being that I need to hear two great singles from an album to be sold on it; the other, that I like to be able to play one song on an album, then not mind the one after it. The latter speaks to an album's structure, sequencing, track interaction, and consistency, while the first speaks to strengths of songs individually.

A good album can grab your attention in a few ways. If you're like me and hearing two great singles does it for you, then great. If you're just sitting down and listening to an album for the first time, then you're more impressionable, and the whole 1-2 punch concept becomes that much more important. Does it come right off the bat and hook you instantly? Is it placed a few songs in, to pique your interest? Is it smack dab in the middle, forming a crescendo of sorts for the album? Or is it right at the end, leaving you with a pleasant taste in your mouth/sound in your ears as you come away from the compilation?

I ran through my library and tried to pick out the combos that stood out the most to me. Some are debatable, some are infamous, and some are purely personal choice. I've laid out the rules for the selections beside the categories, and I'll make short commentaries on the choices as I go along.

Great album openers (has to be the first two):

• "Moves", "The Crash Years" - The New Pornographers, Together

The first starts off with authoritative guitar stabs, then softens up a bit into the more recent, mellower NP sound. The follow-up tune is easily the best cut from the new album, and reminds me the most of "The Bleeding Heart Show" in its triumphant chorus. 

• "Fake Empire", "Mistaken For Strangers" - The National, Boxer

The first is one of the better mood-setters for any album anywhere. You can palpably feel the cool air around you as you "tiptoe through our shiny city", down the dark and deserted alleyway at 3am in the morning. The rest of the album does nothing to dispel that feeling...other than the second track, easily the most drastic departure on the album. It's foreboding, but in a way that comes at you, like a fearsome spirit, with it's cold rhythms and fervent drumming. The rest of the songs on here lay back and invite you into the sombre mood - "Mistaken For Strangers" hits you over the head with it.

• "Free Energy", "Dream City" - Free Energy, Stuck On Nothing

You'd better have a good song if you name it after your band, on your debut album nonetheless. On an LP full of bubble-gum pop-rock, the first cut is nothing but, and establishes the group's identity perfectly. The second tune is more of anthemic stomper, but paired together the tracks offer an accurate presentation of one of the more straightforward rock bands out there now.

• "Son The Father", "Magic Word" - Fucked Up, The Chemistry Of Common Life

The first here is a 6-minute-plus epic, and let's you know that you're in for an album-full of hardcore at its most refined. From the minute-and-a-half build-up to the first shout of "Wooooooooooowwwwwwwwwww!" to the ear-piercing chorus, it's an aural assault of unheard-of proportions. "Magic Word" on the other hand is a jive-like tune that shows the true stylistic depth of Fucked Up, chalkboard-raking vocals and all.

• "Switched On", "No You Don't" - Islands, Vapours

With the breeziness of the album on full display, the first song throws out Beach Boy harmonies and laid back vocal delivery, with a quirky smoothness you can only find on an Islands album. The second track balances that with some drug-referencing synth-pop, the vocals dripping with sly warnings. Still breezy, but more like "shit, I'm in a tropical country and there's a good chance I'm going to be robbed right now" kind of breezy. Apologies to tropical countries of course.

• "Johanna", "Havin' My Baby" - Think About Life, Family

One of the few combos here where I think the order should've been switched. "Johanna" is a stuttering dance-rock tune, the voice seemingly pleading with the titular femme. "Havin' My Baby" on the other hand is fucking awesome. The soul sample starts it off with minimal instrumental backing, then like a kid in a candy store running to the most sugary sweet delicacy there, the chorus is the first part of the song you hear. Here the vocals seem breathless, like the singer is trying to keep up with the frenetic pace of the beat. So much of what Think About Life does best is featured here, so you can see why it would be great had this been the first track on the album.

Middle-of-the-pack track-ers (not the first two, and not near the end...just in between):

• "Afraid Of Everyone", "Bloodbuzz Ohio" - The National, High Violet

One of my favorite National tunes leads off this duo, with Matt Berninger largely leaving behind the usual drama and deep baritone of his voice, in exchange for something a little more laid-back, but no less imposing. The instrumentation feels a little "bigger" than similar tracks on Boxer, the chorus a bit more stadium-ready. I'm going to see The National in Montreal this summer, and I can't wait to see how they pull off this tune live. "Bloodbuzz Ohio" follows that big-rock feel The National seem to have taken to some of the cuts off the new album, even more so than "Afraid Of Everyone". The drum hits are purposeful, and Berninger's voice re-ups that distinctive baritone, while the seemingly non-sensical hooks about Ohio and money owed (tax evasion problems, Matt?) may seem odd, the juxtaposition of sadness and triumph going on here is too compelling to ignore.

• "Ungrateful Little Father", "Meet Me In The Basement" - Broken Social Scene, Forgiveness Rock Record

This was really, really tough, because I'm a huge BSS fan, and they have a ridiculous 1-2-3(!)-4(!!) combo of "Texico Bitches", "Forced To Love", "All To All" and "Art House Director". If you're a fan of "Chase Scene", you can string together album opener and first single "World Sick" with the above tunes, and you'd have an unprecedented 6-spot of great tunes. But alas, I've decided on two of the more different cuts on here, which follow much the same formula that makes me love BSS so much in the first place. Great piano, fervent singing by Kevin Drew, that little bit of quirkiness that lets you know you're still listening to like, ten people on one song, and some vaguely risqué and sexual lyrics. The second tune is an instrumental (save for a shout of "here we go!"), and as they go, I'm not usually a fan of BSS instrumentals on their full-length albums. This one however has the hallmark sounds of Do Make Say Think and even Electric Light Orchestra, along with engaging guitars and a lively string section, seamlessly telling a wordless story.

• "Ageless Beauty", "Reunion" - Stars, Set Yourself On Fire

One of the best - if not the best - Stars songs leads off this pair, followed by one of their most recognizable. "Ageless Beauty" really speaks for itself and has to be listened to - romantic pop music on a widescreen. "Reunion" has a back-and-forth cadence and a relaxing lilt to the verses; however, the chorus will have you reaching for where you think you've heard this tune before. I still haven't figured it out. But damn is it timeless.

• "Vampire", "Holiday" - Pink Mountaintops, Outside Love

The first offering here is a haunting acoustic piece that just washes over you. Again, simply give it a (rewarding) listen. As for "Holiday", I'm gonna be selfish and save myself some writing by referring you to my previous post on the track.

• "Phantom Pt. 1", "Phantom Pt. 2" - Justice, Cross

I remember walking home from downtown one night, the first song here repeating itself over and over and over again in my head, my lips happily obliging by trying to reproduce the industrial-like electronica of Justice on their own. A lot of Cross flows from one song to the other, barely separated but for a brief bridge cutting from one tune into the next. Part 1 and 2 of "Phantom" showcase this quality the best, with the second part not only continuing in the musical spirit of the first, but rebuilding and infusing the beat with new life - no less frantic or head-bobbing, just in a different way. Both songs feature what seems like a voice. I say that because imagine a human voice put through one of those vocoders that make it sound like a monotone robot. Then imagine putting that voice through another vocoder. Then doing it five more times. Then you have the main thrust behind the Phantom two-some.

• "Crystalized", "Islands" - the xx, xx

As I've mentioned before, there's easily four standout tracks from the xx's amazing self-titled debut. Luckily, they put these two back-to-back. No need to explain. But do give the album a listen. Seriously.

• "I'm Not Here", "Too Far Apart" - The Wheat Pool, Hauntario

The Wheat Pool were a group I only discovered this year through CBC Radio3. "I'm Not Here" is other-radio ready rock, mixing a bit of country-twang with smart melodies and nicely intertwining harmonies. The emotion in the lead-singer's voice shines through his pulling of every inch of feeling from the chorus' lyrics, and the guitars and drums recall everything from silos on the prairies to run-down factories to a dusty country road. "Too Far Apart" speeds things up just a tad more, but keeps that emotion intact. The Wheat Pool are a great and under-appreciated band on the Canadian indie landscape, and these two songs just show everyone what they're missing by missing out on these guys.

• "Black History Month", "Little Girl" - Death From Above 1979, You're A Woman, I'm A Machine

As for bands that are sorely missed on that same landscape? DFA1979 are those guys. Sebastien Grainger and Jesse F. Keeler are doing their own things and still making a fine living producing great music, but this duo had it back in those days. The strut and cocksure-ness of "Black History Month" followed by the Black Sabbath-like chords and shout-along lyrics of "Little Girl" (whose first verse I always want to start like 20 bars too early...anyone else?) are the sounds of an unforgettable tandem stringing together their own unforgettable tandem.

• "Ibi Dreams Of Pavement (A Better Day)", "7/4 (Shoreline)" - Broken Social Scene, Broken Social Scene

Missed the Album Openers section by one strangely-placed Feist near-instrumental. "Ibi" strains at the limits of the music as well as Kevin Drew's voice. When I was first getting into BSS, I only had these two songs and I think one other from the self-titled album, and all of You Forgot It In People. It was once I realized, not only could I tolerate the wayward-seeming composition of "Ibi", but that I totally loved it, did I know my liking for the collective was well-founded. "7/4" is a bit more pedestrian, at least in terms of the Scene's music, but the female vocals are a nice balance to the insanity of Kevin Drew's delivery in the song preceding. The nimble guitar playing is masterful, and I can't help but feeling this could soundtrack one of those corny car commercials where they're trying to sell you an SUV that's gonna change your life, evening-time runs on the beach, rock-climbing, forest hikes and all.

• "Young Hearts Spark Fire", "Wet Hair" - Japandroids, Post Nothing

Maaaaan. I love these guys. And they love each other. Ferocious but heart-felt rock about all the shit you go through in your early 20's.

• "All My Friends", "Someone Great" - LCD Soundsystem, Sound Of Silver

The first track is one of the Top 5 of the last decade. I can't really say much that hasn't already been said about it. The second track has one of my favorite videos, and holds a bittersweet message for anyone missing someone that's gone.

• "Stars And Sons", "Almost Crimes" - Broken Social Scene, You Forgot It In People

Can you tell that I like Broken Social Scene? Most of their entire albums could go on this list, but as mentioned, I've tasked myself with narrowing it down. That stair-climbing bass on "Stars And Sons" is unmistakable and forms the backbone of the song, with "Almost Crimes" sputtering down to start off, then launching into a quick-strike, lo-fi tune - before lo-fi was cool. The first tune is the sound of a polished band crafting a musical benchmark. The second is that same group getting together in the garage and jamming out on a Saturday afternoon - but either way, you know it's gonna turn out great.

• "Electric Feel", "Kids" - MGMT, Oracular Spectacular 

Need I say anything, really? In a year when MGMT has been some spectacularly bad decisions/videos/songs/appearances, it's refreshing to know that at one time, they put these two jams back-to-back.

• "Sex On Fire", "Use Somebody" - Kings Of Leon, Only By The Night

Again, if you haven't heard these, you're probably living under a rock and your iPad hasn't arrived yet, so you're not reading this.

• "All We Want Baby, Is Everything", "I'm Confused" - Handsome Furs, Face Control

I guess I'm getting a little tired of writing by now and need to save up some words and effort for the next section. Just let me say it's nice when you put the first two singles from an album back-to-back, and those two singles also happen to be the best songs on said album. More Handsome Furs here and here if you do feel like reading up.

Great album closers (doesn't have to be the second-last and last songs, but close enough to them):

• "Yeah (Crass Version)", "Yeah (Pretentious Version)" - LCD Soundsystem, LCD Soundsystem [Side 2]

20 minutes of funky dance-punk? Yes. Now that I think about it, this tandem is right up there for best overall 1-2 punch. When you can throw on the first track for 9 minutes and the second for 11, and one just builds off and complements the other, you know you've got a good tandem going. The "Crass" version is more word-heavy, while the "Pretentious" cut I guess, assumes you know James Murphy already said his peace on the prior track, and just intends to rock out for 1/6th of an hour.

• "Remind Me In Dark Times", "In The End It's Your Friends" - Shout Out Out Out Out, Reintegration Time

16 minutes of electronic? Um, yeah. I can see a bit of a theme here. This CD was in my car for months at the start of the year, and anytime I was taking a short drive, these two songs were a perfect soundtrack. I've highlighted the first tune already on here, and the second tune just takes some of that same bravado and parlays it into a track about your friends being the ones you should probably watch out for should things turn sour.

• "Edmonton", "In The Summertime" - The Rural Alberta Advantage, Hometowns

It could've been "Four Night Rider" followed by "Edmonton" - all I know is that the latter had to be featured if I was gonna do a 1-2 punch article. "Four Night Rider" leads into "Edmonton" a little better, but the difference in pace and delivery of the first tune here and the second was the deciding factor for me. I broke down the whole album track-by-track on here late last year, so it's at least worth a look to see what I said about this outstanding pair of songs.

• "We Are Being Reduced", "Before You Leave" - Thrush Hermit, Clayton Park

Didn't even realize these two combine for 12 minutes of album time. On a fun Clayton Park album, these are a couple of the more downer tracks lyrically, but the music picks itself up off the ground in rousing fashion and provide a strangely appropriate ending for what was to be Thrush Hermit's last album together. I saw them on their reunion tour (not "comeback" because they have no intention to do so) in March, and they broke out both of these, finishing their encore and the show itself with an absolute bang by trotting out "Before You Leave". While the first song, with its mournfully poignant guitar, takes a whole 4 minutes to truly get off the ground, it ends with a decent flourish, and provides the perfect lead-in to "Before You Leave". The latter flips the formula, starting off happy and slowly peeling away the layers of the musical onion until you're left with a pleading Joel Plaskett baring his soul to the girl who's left him. The guitar riffs throughout are quite pleasing, and the instrumental ending the track - and album - runs through an entire gamut of emotions.


The Best:

• "Use It", "The Bleeding Heart Show" - The New Pornographers, Twin Cinema

I had no choice but to go with this pair. It's often you'll see a band string together two of its singles on an album; sometimes this means they also happen to string together the two strongest tracks from an album. But to be able to put together arguably the two best songs you've ever made? That's unheard of, and that's why this tandem has to be the best 1-2 punch I know of. The immediacy of "Use It" is lost on no one, especially that sonically-perfect drumming of Kurt Dahl. "The Bleeding Heart Show" for its part is the most fruitful exercise The New Pornographers have ever undertaken in attempting to craft the perfect pop song. It has one of the most soaring choruses, the sharpest drum fills, the ooo-iest "ooo"s, the uplifting-est "hey la"s...the list goes on and on. The two tracks back-to-back is an embarrassment of riches album-wise, and an undeniable treat for the ears.

Not gonna lie...after eight great minutes of The New Pornographers like that, you might just wanna lay back and light up a smoke.

The Bedtime Playlist

mmm...album art?

I have to say I'm already hoping The Besnard Lakes Are The Roaring Night - the album pictured above, by none other than Montreal's husband and wife duo The Besnard Lakes - will make the Top 10 of this year's Polaris Prize, rewarding the best in Canadian music. I'm not here to review the album though, only the song that got me into the group and anticipating the above release, so forgive me for getting ahead of myself.

Some background before I start then. As I've said before, this blog is just as much about the intricacies and the various ways of discovering music as it is about the songs themselves. The Besnard Lake's "Albatross" fits in perfectly with that theme. I for one, can't fall asleep without music or the radio playing. For years, this used to be sports talk radio, but this year I started playing music on my laptop - and much like picking something good for taking a shower to, the Bedtime Playlist is a similar balancing act of music I enjoy, but that doesn't engage me so much that I can't get to sleep. That means finding a measure between the upbeat tune of The Weakerthans and the seemingly-too-subdued harmonies of Bon Iver and Grizzly Bear. 

I mention those three groups because I've playlists of all three, and usually I'll fall back on my range of playlists for bedtime music. Somehow, I strain so much to hear the quieter music of Bon Iver and Grizzly Bear that I can't just relax and go to sleep. The Weakerthans on the other hand, as I mentioned, produce lyrics and imagery so engaging that I can't properly clear my head enough for slumber. 

That leaves me with a lot of night-time listens to the xx (chronicled here for their great nocturnal-soundtracking), Broken Social Scene (whose expansive sounds and lush instrumentation provide a strange, "washed-clean" slate of a mind before bed), and The New Pornographers, for whom I can't really provide a back-up, but who just sound so great and have enough epic and slow-tempo numbers that they're passable as bed-going fare. You might think Radiohead and The National could slide in here and steal some plays, but to be frank, I've tried that route with The National, and after a few times, I found the music just too depressing for that kind of listening. Plus  anyone that feels like Thom Yorke crooning them to sleep with his detached and unhuman voice should re-consider what they consider is creepy and what's not.

So anyway, all that aside, my laptop's right there at my bedside. This also means that when I wake up to my alarm clock, I usually roll over, shut it off, and effectively hit the "snooze" button by turning on CBC Radio3's live stream and lying half-asleep in bed until I figure I have to get up (full disclosure: that's during the school year, when the first thing I have all day is an 11:30am class...doesn't work so well for the summer job that starts at 8am). Something like that went down in late January of this year, when I heard the most compelling thing in quite some time on Radio3. I had no idea what it was; I'd never heard it before, and it wasn't even similar to anything I had ever heard. I don't remember how exactly I came to find out the name of the track, but I think I was awake enough that I heard the host say something about the b-something lakes, and an albatross.

For my luck, I had no idea at the time who The Besnard Lakes were, how to spell it, and if the Lake was even pluralized. I did some thorough searching though, found the group's wikipedia page, and discovered they were from Montreal, and had already produced a Polaris Prize-nominated album, The Besnard Lakes Are The Dark Horse. The song was indeed called "Albatross", and though it took me a couple days to get that particular track (which I had glossed over earlier in the month when Pitchfork had given it a 7/10 in the tracks and singles section), I got their debut album instead and gave their spaced-out and lengthy jam-rock sound a good listen.

The Besnard Lakes - "Albatross"

The song on its own has to be my favorite thing from The Besnard Lakes, hands down. It combines so much of what they do, so much of their signature sound and style, with the immediacy and listenability of more pop-oriented music. It's the Lakes at their most focused, most emotional, and tightest, without compromising their unique musical identity. From the otherworldly clangs of those first few fuzzed-out guitar notes, to the cartoony "wooooo"s to Olga Goreas' unconventionally gorgeous voice, everything there is to love about the duo is on full aural display.

"Albatross" drops into the grandeur quicker than most other Besnard Lakes tunes, and when it slows down around the 2:40 mark, you think the best may have already come. Then Olga hits you with possibly my favorite line of the year: "and I have to admit/things got weird for a bit", followed by all the sounds mentioned above - plus an array of crashing cymbals - coming together once again in glorious unison to push the song to new heights. Once it's settled back down, it starts to carry a triumphant feeling, the vocals repeating "and I scream for you!/there goes my man".

If it all sounds a little strange, maybe it is, but the feeling in Olga's voice throughout is unmistakable: it's love, it's longing, it's a bit of sadness, and in the end, it's a veritable pride in the one you love. The lines are endlessly quotable and relatable, especially the first-half chorus of "you showed me so much", but also ones like "I wanted to help you" and the heartstring-tugging, "those days are never gone/wish I had your picture". I'm practically giving the whole thing away like candy on Halloween, but I think that alludes to my attachment and appreciation of "Albatross". Thought it may not help put me to sleep, it certainly speaks to me.

you say you want a revelation?

one of the neater, classier album covers I've seen in a while

Again, I've got a handful of new music since my last post, including The New Pornographers' Together, Crystal Castles' (second?!) self-titled album and Broken Social Scene's Forgiveness Rock Record. I even went out of my way and paid for the first and last of those. Now they've all been highly rated, and reviewed all over the internet, so I'm not going to waste a lot of my time or anyone else's by writing reviews for those. Suffice it to say: I love Together, I'm in love with Forgiveness Rock Record (yes, there's a difference), and I'm lukewarm towards Crystal Castles (II? 2010? what's the procedure here?), so it'll have to grow on me.

What I'm gonna do today is a bit more of an experiment. I'm posting a song, and you have to decide what you think it sounds like. It used to be that you could throw out simple terms for music: rock, pop, hip-hop, country, jazz, maybe electronic. Then the internet age began, and as technology increased, so did the experimenting and collaborating people were doing. Genres were folding in upon themselves, some were expanding like veritable universes, and some were falling out of existence altogether.

For a joking take on what I mean, check out this t-shirt from (often read) hipsterrunoff.com blogger Carles. It would be both futile and hilarious to try to pick out the best genres from there, but hopefully you get an idea of what I'm talking about. So without further ado, I delve into the discussion by offering you a cut from Spanish group (?!) Delorean's recent effort, Subiza.

Delorean - "Stay Close"

Now what does that make you think of? Is that a maraca? Is that an old soul sample crooning "baby"? Those are definitely synths, no? There's vocal effects galore, pedal effects thrown in for good measure, then dance-y English vocals. What the hell? Now, this breezy kind of music, with an intentional push of most of the sounds on the track under a layer of "lo-fi" - albeit a thin one in this case - classes it with my often-hated-on genre of "chillwave". But I actually like this song. I like the album for the most part too. Nine consistent tunes, hearkening a night on a Greek island beach, high on life, and maybe a bit tipsy from the drinks. Some of the songs delve into maybe waking up on that beach the next morning, somehow feeling even better, and watching the sun rise over you. Other ones might take you back to the club from whence you came to the beach. Either way, there's a mood, a theme, and Delorean does a great job as a collective sticking to that.

But let's not get too off track from the track itself. We're talking about chillwave here, or at least I'm pointing the discussion in that direction. Some artists, like Best Coast, hate being branded as chillwave, to even more of an extent than when "lo-fi" branding was all the rage over a year ago. It seemed to cause a rift and confusion between those who did it out of necessity, and those who did it as an aesthetic. Was there a right and a wrong use for the lo-fi sound? That's up for argument as ever, but chillwave is decidedly a direction you have to take by your own volition. 

Much of the blame for branding of course comes from reviewers, who, like myself, are always looking for a way to class something, to attach a genre to it. It makes comparisons easier I suppose, but with all the genres out there, and the list ever-expanding, your search for similar sounds either gets you something too specific, or leaves it so wide open that it's a pointless endeavor to try and class a song or group or artist in the first place. Now Delorean, as you can see above, are - quite strangely - better described by where they sound like, more than who or what. Sometimes, it's simply laziness that leads reviewers into this genre-fying. When you really search for an in-depth comparison, it may be better than just bandying about taglines like "sun-tinged lo-fi" or "attic-dwelling chillwave". What the hell does that even mean? may be the thought coming to most reader's and listener's minds.

We've delved a bit into that issue of genre and classifying then I hope, or at least my stance on it. But that still leaves this whole chillwave thing, and how I can rectify my liking this Subiza album while still maintaining a healthy disdain for the chillwave sound as a whole, and especially as a way of classifying new music. I can do so, by saying that Delorean's sound is nothing more than dance music. That's right. Plain, simple, dance music. Throw in a bit of that lo-fi sound, and you've got their charming aesthetic. Maybe lo-fi just makes it sound like you're not trying that hard, so it's cool, it's effortless...it's chill. Whoa. I think I just brought that shit full-circle.

But truly, Delorean have just crafted an unpolished dance record, free of the glitz and glam that leads most dance records astray (I'm kiiinda looking at you, David Guetta/Armen Van Buren). And I say that in the best way about Delorean. They've got all the dance music elements, from the BPM's to the synths to that Euro sound. That's not a knock on it. That they can make it so appealing to an otherwise "indie" crowd, who've sworn off anything remotely techno for as long as I can recall, is truly an accomplishment. Maybe it's that there's a bit of likeable pop mixed in there on some tracks, but that's for another day's judgement.

In the end though, it was my iTunes that steered me to this all-encompassing revelation. I'm a bit OCD, which I may or may not have mentioned on here before. Now I'm not so much that I'm gonna have to now go through all my old posts to see if I have mentioned it - I just like there to be some order and organization in my life. So in my music library, you won't find a lower-case letter starting a word for song or album titles. Each song is given a genre, and most importantly, an equalizer setting. Usually I'll wait til I've listened to the song to decide if it should be "Acoustic" or "Rock" or even "Jazz" if it's got the right sounds. 

But back to genre for a second. In light of everything I said above, I'm obtusely narrow-minded in giving genres to my music. Heck, I don't even know why I still do it. People just like classing stuff; it's a game we all play, and for me in particular, it goes: "I got some new music. What kinda genre should it be? There, cool, I'm done." It doesn't help me sort my music in any way, and it doesn't even help me pick what to listen to really. 

It's that equalizer that really matters though, because that dictates what's brought out from the multi-layered sounds in a song; it tangibly and truly affects how I listen to my music, which I think makes it the most important classing practice there is - at the very least, on iTunes. So when I listen to Delorean, I think: "Dance". There, simple as that. As for genre labeling; I give out the simple ones like "Electronic", "Alt. Rock", "Pop", "Rock", "Hip-Hop", "Folk" or the catch-all, "Alternative". You know, the way it used to be in the old days.