Though "Gooey" made my top 10 list of favorite tunes last year, and even after seeing Glass Animals perform it live, I still haven't any clue what the song is actually about. But none of that mattered anyway, because dancing was what the night was really about.
Last year, as bohemians in frilled tops jammed to the prominent and the popular at LouFest, deep in the basement of Empire Hall another sort of spirit sang: the punk, the experimental, the homegrown, the bold.
It's become an annual ritual at KDHX: Our DJs look back at the best releases of the mid-point of the year and pick their 10 favorites thus far. Given how great 2015 has been for new music, you know there's some essential listening in store.
To complement their lists of top 10 albums, some of our DJs weighed in with their picks for favorite songs and shows of the first half of 2015.
FFS is a supergroup that brings together two brothers who have performed music together as Sparks for over 40 years and as Franz Ferdinand, a Scottish indie dance-rock band.
If you ever tune in to KDHX sometime between 11 p.m. and 1 a.m. Central in the wee hours of Tuesday night and Wednesday morning, you'll hear a smorgasbord of experimental sounds. Psychedelia, drone, lo-fi, freak folk -- any and all could wander through Nathaniel Farrell's "Cure for Pain."
Best Coast makes its major-label debut with its third full-length album, the clean and shimmery "California Nights."
The Portland, Oregon band Thanks fires up a dark and danceable sound on "Bad Tattoos." Contrary to the song's title, there's nothing regrettable about it.
In December of 2013, KDHX DJ Jason Robinson placed "Major Arcana," the explosive debut album from Speedy Ortiz, on a year-end top 10 list titled the "Household Names, and Some That Will Be Edition." Two years later, that prophecy is coming true. Last month, the Boston-based experimental rockers released their sophomore album, "Foil Deer," launching the five members into a swarm of critical praise and national attention.
The last time St. Vincent performed in St. Louis she supported the Black Keys. She was excellent. Without the heft of a headliner whose energy drooped lower than a basset hound's ears, Annie Clark was able to give the audience a piece of her self.