You can download this song for free_!_ if you click on the album art and grab it through AmazonMP3.

I heard this song for the first time a couple days ago when I twittered about a bunch of free indie samplers and I thought that it was so wild that I just had to download the album.

It's a shame, as I unfortunately so often say, that the rest of the album sucks dick. By that I mean that on every other track but this one (and even this one a little) the singer sounds like he's trying to do a poor imitation of Alec Ounsworth of Clap Your Hands Say Yeah (who, in turn, sounds like he's trying to do an imitation of 'Neil Young slowly being eaten by cats and wailing furiously in fear and sorrow', which is in very poor taste, especially at a concert in which I paid money to hear someone actually hit a proper note on purpose, instead of just wailing through all of them hoping a decent one pops in there somewhere, good god I hate Clap Your Hands Say Yeah, their shows suck).

It's too bad, because the music is decently pretty, and people on Amazon claim this album is neo-psychedelia but I... really don't want to agree. I got bored a couple tracks after this one and started to become nauseated by the memory of seeing Clap Your Hands in concert, so I had to turn it off. This song will stick with me, though.

We're beginning to see a trend in indie music, and I blame Arcade Fire for this because it seemed that back in 2004 Arcade Fire really opened the flood gates for 'singers with high voices who can't quite sing' (and to give credit to Win Butler, he can sing, and quite well, it's just that it didn't become obvious until much worse vocalists came around), but in the last year or so the focus has turned to 'singers with high voices who can kind of sing but instead screech through a 1970's loud speakers'. If I end up posting The War on Drugs tomorrow you can compare and contrast (when, instead of a Clap Your Hands imitation, you'll get a vocal that is an imitation of what Win Butler, Bob Dylan, and Bruce Springsteen's kid would sound like if you could somehow get them all to fuck each other).

What I like most about this song is: when it builds into noise (pretty early on) over the rest of the song and then scrambles and breaks into sweet relief. It's really effective (if I may say so myself) and I think they pull it off beautifully.

What I like least about this song is: when it builds into noise at the end and then doesn't break away from it, instead it keeps going and they pop in some ridiculous bass riff and then, poof, the song ends. Shit like that is a total mellow harsher.

Also, Pitchfork loves this stuff, so you know it has to suck.