The Wombats - "Tokyo (Vampires and Werewolves)"

Let the synth-driven dance rock wash over you like smuggled-in beer at a Japantown karaoke bar. The Wombats nail it with this video for "Tokyo (Vampires and Werewolves)" that reeks of good times and high-risk drug abuse. I feel for the band manager that has to ultimately (and unsuccessfully) rein in the snow-influenced mania, but at the same time, you just want the song to keep going to see what madness unfolds next. The Wombats are generally fun and uproarious, but they consistently write pretty good songs that sound like a lot of other noise. Personally, I think this video sets a pretty high watermark, but the rest of their output really ain't bad either. Give a spin, have a listen... This Modern Glitch is available now.

The Wombats - Tokyo (Vampires & Wolves) from Townhall on Vimeo.

The Virgins - The Virgins (2008)

Apparently there's a large (huge?) place in my heart for the derivative but catchy pop song. The Virgins seem to specialize in that type of song because every song sounds familiar, but contains a chorus that makes me want to sing along ("she said, well right now you and I were getting high, but we don't have to be this way..."). Some songs sound like the Strokes, particularly "Fernando Pando", but most of the time they just sound like a 80's revival band specializing in poppy new wave, particularly on "Murder". I can see why some people wouldn't like these guys - I'm not sure they bring anything new to the party but a good time, but damn man, that's why I party. Although they can keep their high end drugs, I'll stick to the beer. Thanks though. "Hey Hey Girl" kind of reminds me, in a good way, of those late 90's pop radio songs, the kind that Sugar Ray might write. "Private Affair" and ""She's Expensive" are my favorites. At another, more image-conscious time in my life, they might have been guilty pleasures.

The Kills - Midnight Boom (2008)

The first song I heard by the Kills was "Wait" on their first album "Keep on Your Mean Side". They were very bluesy, sort of down and dirty sounding, like they recorded in the Mississippi Delta somewhere. Their new album Midnight Boom however, is drastically different. It sounds like the Mississippi garage band got signed, moved to the bright lights of New York City, changed their sound to pop, then starting writing about new fashions, clubs and designer drugs, most of which I do not understand, and 99% of the time I would write this band off, call their new shit lame and move on. Not so with Midnight Boom. This album rips. The first song "U.R.A Fever" completely draws you in and demands your attention which is followed by "Cheap and Cheerful", one of the best pump up the party, dance your face off jams I have heard in years. "M.E.X.I.C.O.C.U" and "Alphabet Pony" offer some very creative riffs, as well as song writing, which come together to make a delightful gumbo of craziness. The album does have some weak spots though. A few times I found myself skipping songs, and "Sour Cherry" sounded too much like the Breeders, I hate the fucking Breeders. Over all, I would definitely recommend this album not only because Jamie Hince on guitar completely rocks, but Alison Mosshart sounds like one of those super hot punker chicks you meet at a local dive bar on a Wednesday, beats you soundly at pool, and almost gets you beat up three times before the nights over, a bad idea but sooo much fun.