Regardless, Moby is releasing a new record in October called Innocents (Wikipedia link). I’ve heard it’s the bomb. In prep, you might as well listen to his best record, Everything Is Wrong. Some people are going to remember this album for the real trend-setting hits, like Feeling So Real or Everytime You Touch Me. Maybe they’ll remember it for the edgier tracks like What Love. That’s all cool, but for me, the album really stands out thanks to three quieter songs.

Into the Blue charms with its swooning vocals and driving bass. God Moving Over the Face of the Waters is self-aware of its beauty, but that’s okay because it is incredibly beautiful. But for me, the real star track of the entire album, the one that hits the hardest, is When It’s Cold I’d Like to Die. It sends shivers down my spine.

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Nothing Is Sound is reportedly the album the band dislikes the most from their repertoire, because it was a period filled with strife with Sony, who was their record label at the time. From that strife, though, came a beautifully sad record about death and finding peace and happiness in the dearth of seemingly meaningless existence. Although the band may not look back fondly on their time making Nothing Is Sound, what resulted is a record that climbs past compromise and becomes better than the forces against it.

The album’s best known for Stars, the lead single, but Happy Is a Yuppie Word is one of my top-five favourite songs of all time, (and based on a Bob Dylan quote to boot). The Shadow Proves the Sunshine is a rare glimmer of hope on the record, but at only four tracks in, Jon Foreman has already proven himself as a modern-day lyrical Psalmist. The Fatal Wound lives on as one of the most memorably sad songs of all time, and Daisy is profoundly uplifting and builds to an immense climate.

To me, Switchfoot was always that lone rock band doing what few of the other 90210-types were doing — a modern-day under-rated American Beatles of sort — and Nothing Is Sound is easily their best work. The songs are catchy, but the lyrics offer astounding depth.

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Kaki King was the first female “guitar god,” as declared by Rolling Stone Magazine, and although her music has since become edgier and vocal-filled, I think Legs to Make Us Longer is still the best demonstration of her pure, unadulterated talent with the guitar. Listen to Playing With Pink Noise — the way she slaps the guitar and plucks the strings is almost unheard of. She’s actually blending multiple different cultural styles, which is an incredible feat for a solo musician.

All that being said, Kaki King isn’t just a great musician. She also writes good music. Her songs are often filled with emotion. Can the Gwot Save Us? is a track that provokes a more complicated emotion than anybody could ever create with only a voice. Neanderthal bounces up and down scales like Kaki King is playing heart strings, and when she smacks the guitar strings to create a resounding kerrang at moments of high tension, I’m right there with her, feeling every bit of it. This is one of the all-time great instrumental albums of the past ten years.

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