The Re-Return of The Weekly Wank

As promised, I'm going to jump start The Weekly Wank again. To start off, I'm going re-post the crux of the first attempt (with some editing). The format will largely remain the same for the whole two of you that read the previous incarnation. So here goes nothing:

I was recently introduced to the idea of putting my iPod on shuffle and reviewing the first five songs that play. This is a fantastic idea, and serves as a more interesting form of suggestion/warning others than me waiting for inspiration from the occasional album release that catches my fancy. Though it makes sense to have The Weekly Wank on a concrete schedule, I'm not yet positive if Monday will be the final choice. We'll see.

Additionally, I encourage others to do the same. Use my comments section if you like. And forgive typos.

So without further adieu, I welcome you 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 due to the fact that 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 out of spite. For those uninitiated, Broken Social Scene is somewhat of an indie rock supergroup containing members of a bevy of respected bands.

Truth be told, this is a fucking excellent song. There is a subtle art to repetition that walks the razor-thin line of maintaining the song and beating the listener over the head. 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.

Emily Haines' (of Metric) voice was meant for this song. It contains this warm, haunting quality that feeds the repetitious nature of the 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. It contains 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 for 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" finds the band mixing up their power pop-punk sound with this "I Love The 90's"-type of journey into 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, saving the song from the stink of being gimmicky, but the lacking punch his lyrics usually contain causes the song to be pretty forgetful to anyone who isn't already an eve 6 fan.

While the song is catchy, and 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 contested that Jack's Mannequin is a far superior musical venture for Andrew McMahon than Something Corporate. And I am not going to go on a rant about "emo," thoughI think the word is grossly overused and misunderstood. I say this because Jack's Mannequin is a band you might hear associated with that word. That's fine. But people allow that association to take away from the listening experienec 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 the songs serving as evidence Andrew McMahon never used his abilities as a pianist as a parlor trick. It's a quiet little ballad dealing with what appears to have been one of many breakoups with the same girl. Dealing with that welcoming of negative emotions that wash over 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 at a place when you think you can handle yourself so long as nothing breaks your immediate concentration; that moment where nothing's 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 fit this song like a velvet glove. It begins with a soft tinkling of piano keys as Stipe breathily sings. The song suddenly breaks down into a pounding of electronic beats and guitar work as Brian Molko accompanies him to belt out the chorus. They continue the trend of trading off verses and coming together for the colossal chorus as they play the two sides of of infidelity (Michael the adulterer and Brian the victim).

The song seems to have a sinister vengeful tone from Molko's viewpoint 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 feelings of anger are obviously understood, the song ends with "I'll bide my time/I'll wait my turn." That sort of scheming seems to indicate 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 distinct voices coming together without clashing makes this song succeed.

An obsessive Placebo fan, I will always wholeheartedly recommend their material. Perhaps not the ideal song to be introduced to the band, but it's an excellent song that allows the listener to bask in the simplicity of the lyrics and complexity of the dramatic stage it 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 I just enjoy listening to. He's got an atypical voice for the genre channels the true nature of the style with 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, which is unfortunate.

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.

Now begone.