You're in the doldrums. Hello readers popping in from The Morning News! They've called us out again for one of our past selections (yay, thank you!), Ratatat's "Tacobel Canon," and in that endearing way that makes me feel about oh, two feet tall, Mr. Womack reminds us all that Ratatat take a great amount of insipiration from Brian Eno and Robert Fripp (or, as Aurelio Valle and Pete Gannon would say, "Guitars that sound like kazoos!") and then offers a download of Eno's take on Pachebel’s Canon, "Brutal Ardour," which you know, I should have done, given my well, uh, well-known Eno obsession.

See? I mean wow. Can I just like, step into that picture? Where's the magic time machine or fairy glam-mother when you need 'em? Never around! Hrmph!

Ok, so to atone, how about a side by side comparison of Ratatat and Eno?

Brian Eno -- Here Come the Warm Jets

Ratatat -- Lex

Which reminds me, I was googling around the other day for a clue as to what other people think Eno's "Baby's On Fire" is about (because ok, yes, I do stuff like that...like this is at all shocking!). I've always thought it was about the vain, vain ways of a papparazi-hounded starlet and her "friends," but really, who knows with Eno. Anyway, I found something kind of disturbing: Some people hear the opening line of "Cindy Tells Me" as "Cindy tells me the rich girls are leaving..." Personally, I don't think that's what it is (obvs), but, again, as this is Eno, does it really matter which you hear? I suppose if you try to do some kind of close reading of the text, it does, but otherwise, not really. It's all about words that sound neat together. Right? Well, don't worry, we're not changing the name of the blog, promise.

Which reminds me, you may have noticed that depravedfangirls.org is down -- we're in the process moving everything over to fourinchesfromthecuff.com, so it might be MIA for a few days -- sorry about that.

If I didn't know better, I'd think this was a Pitchfork review. Because it's only comprehensible if you've done close readings of the lyrics of the last few offerings from Interpol and The Walkmen. So I can't tell, then, if the author is mocking me for knowing that, mocking himself for actually being able to write in that mode, or both.

Oh, and that Hold Steady b-side, "Curves and Nerves," they've got up for downloading on the MySpace? Um, there's a reason it's a discarded b-side. It's quite possibly the worst thing they've committed to tape. Sometimes we forget that there's a reason tracks fall by the wayside in the recording process. (Sorry, Brian. I know you liked it...) Those remixes they've got up are pretty questionable too. Eeesh.

Before we part ways, dearlings, one last thing -- it was inevitable, you knew it: Christina Aguilera remixes. <3

Christina Aguilera -- Ain't No Other Man (Sam998899's Underground Remix Radio Edit)

Christina Aguilera -- Ain't No Other Man (JNX's ''U Got Tekhno Soul'' Edit)

And oh, I lied. This is the last thing. The Ballet! BRKLN VGN said they were for fans of "Voxtrot, The Smiths, Belle & Sebastian, The Magnetic Fields and other 'sissy pop'...." This is slightly alluded to in the comment thread of the post, but never clearly stated: Babies, the "sissy pop" referenced in the band's Myspace URL might be more along the lines of, um, The Hidden Cameras, Casiotone for the Painfully Alone, and yes, The Magnetic Fields. Do we see the pattern here? *ahem* Lots of mp3s at their site, check it out! Rather good! (New Yorkers: They have a release party for their new effort "Mattachine!" (ref: Mattachine Society) slated for the 21st at Magnetic Field in Brooklyn, and play the Cake Shop on the 23rd.)