Introducing The Weekly Wank

I was recently introduced to the idea of putting my iPod on shuffle and review the first five songs that play. This is a fantastic idea, and serves as a more interesting form of suggestion/warning other than me finding inspiration from the occasional album release (and yes, Bryant, I will do a Say Anything review...when I fucking feel like it).

For future installments, I hope to provide an mp3 of the song played (and may do that tonight for those discussed today). Additionally, I encourage others to do the same. Use my comments section if you like. And forgive typos.

So without further adieu, welcome to The Weekly Wank:

1. "Anthems For A Seventeen Year-Old Girl" by Broken Social Scene

I resisted even listening to this song for the longest time because since the instant the track was released, I found the lyrics posted on nearly every girl I knew's AIM profile, away message, message board signature, blog, and MySpace page. I couldn't escape it, so I simply avoided the damn song. For those uninitiated, Broken Social Scene is somewhat of an indie rock supergroup containing members of a bevy of respected artist.

Truth be told, this is a fucking excellent song. There is a subtle art to repetition that walks the razor line of maintaining the song and beating the listener over the head with words. Placebo and Nine Inch Nails have mastered this, and this song is another perfect example. It works best with music electronic in nature and while the foundations of the song's music lie in Canadian folk, it has the structure of an electronic track that wouldn't sound alien on a Postal Service album.

Metric's Emily Haines' voice was meant for this song. It contains this warm, haunting quality that feeds the repetitious nature of the song's minimal lyrics like a familiar ghost singing lullabies from an AM radio.

And I cannot resist the lyrics. They're of the pining nature; that undying feeling you get when you hope more than anything the person who tugs on your heartstrings is also thinking of you. There a subtle heartbreaking sweetness to it as well as the irresistibly sincere mantra: "Park that car, drop that phone, sleep on the floor, dream about me..."

As both a music whore and hopeless romantic, I recommend this song to anyone's next mix tape.

2. "Not Gonna Be Alone Tonight" by eve 6
Like most tracks from eve 6's third album, It's All In Your Head, "Not Gonna Be Alone Tonight" find the band mixing up their power pop-punk sound with this "I Love The 90's" type journey into the various stages of "alternative" (at least, that's how the album sounded to me, and we all know, above all, I am right).

Musically, this song serves as a strong combination of eve 6's signature sound molded with this dirty Tom Petty rock that wouldn't work if eve 6 didn't commit to it as much as they do. Max Collins treats the song seriously, so it does not stink of any gimmick, but the lack of punch his lyrics usually contain allows the song to be pretty forgetful to anyone who isn't already an eve 6 fan.

While the song is catchy, and certainly not a bad song at all, it's not among eve 6's best work and makes me wonder how this song made the cut but enjoyable songs like "405" never made it past the demo stage.

3. "Rescued" by Jack's Mannequin

I've always contest that Jack's Mannequin is a far superior musical venture than Something Corporate. And I am going to not go on a rant about emo, but I think the word is grossly overused and misunderstood. I say this because Jack's Mannequin is a band you might hear be associated with that word. That's fine. But people allow that association to take away from the sincerity of what may be an excellent, well written track. That finger is better for pointing at bands who do not deserve a tenth of the attention they have received (see: Hawthorne Heights, Taking Back Sunday)

"Rescued" is one of those songs that serves as evidence that Andrew McMahon never used his abilities as a pianist as a parlor trick. It's a quiet little ballad dealing with a breakout that appears to have been one of many with the same girl. Dealing with that welcoming of negative emotions that wash over you when going through the turbulence of a break-up, McMahon keeps the song simple, not because of his skill, but that it serves the song best.

Moments like this, you feel as if all you can utter are things in simplicity, which oft times end up feeling like revelations. The chorus ends with a moment that takes place when you think, so long as nothing breaks your immediate concentration; that moment where nothings good or bad, just a wash of blissful neutrality so that you can collect yourself to deal with whatever comes next: "I'm finally numb, so please don't get me rescued."

This song, like the entire Jack's Mannequin album, Everything In Transit, is definitely worth a spin to those who want something emotive, honest, and somewhat chill to listen to.

4. "Broken Promise" by Placebo (featuring Michael Stipe of R.E.M.)

Michael Stipe and Brian Molko's contrasting voices perfectly fit this song. It begins with a soft tinkling of piano keys as Stipe breathily begins the song which suddenly breaks down into a pounding of electronic beat and guitar as Brian Molko accompanies him to belt out the chorus. The continue the trend of trading off verses and coming together for the colossal chorus as they play the two sides of the subject of infidelity (Michael the dishonest and Brian the victim).

The song seems to have a sinisterly vengeful tone as the chorus goes "I'll wait my turn to tear inside you/Watch you burn/I'll wait my turn." While that may not come off quite as sinister as the obvious feelings of anger are understood, the song ends with "I'll bide my time/I'll wait my turn." That sort of scheming seems to show that the whole spectacle has made a monster out of the wronged party.

"Broken Promise" is a song that relies on the strength of the vocalists. While the music certain sets the ambiance and carries the structure of the song, the ability of these two different sounding voices coming together without sounding out of place is what makes this song a success.

An obsessive Placebo fan, I will always wholeheartedly recommend their material. Perhaps not the ideal song to be introduced to the band, it's an excellent song that allows the listener to bask in the simplicity of the lyrics and complexity of the dramatic stage its sets.

5. "Suicide Uma Schrantz" by P.O.S.

This is a 30-second track of what could easily by tossed aside as a filler track. Ok, let's face it, it IS a filler track. But P.O.S. is one of those rare hip-hop artists you just enjoy listening to. He's got an atypical voice for the genre in this day and age and channels the true nature of the style with much of the rebellious nature of punk rock.

It's a throwaway track, but a little fun. You won't really enjoy this track unless you've heard his work nor will you enjoy it if you're not listening to the P.O.S. album. It's got silly lyrics with references to Suicide Girls and Charles Bronson and actually sounds like it could have made an entertaining full length track, but alas it doesn't.

What this track does do is whet the appetite to listen to P.O.S., which I think I will go do right now.

This has been The Weekly Wank.