Faunts, “M4 (Part II)” (Friendly Fire Recordings, 2007)

Go to the beach, and you get crabs. At least that what Canadian shoegaze quintet Faunts want us to believe. But how could you not want to take the chance, given that Faunts’ new-wavy goth rock simultaneously brings to mind Slowdive and the “Nightrider” theme song? Plus, there’s a battle going on of seismic proportions, American Crab Gladiators-style. Also, props to the keyboardist for sporting a trench coat, despite the still prevalent Columbine connotations. Ballsy, dude. — Ryan Allen

Estelle, “American Boy” (Homeschool, 2008)

When Estelle blew minds on “The Late Show With David Letterman” awhile back, the Kanye-nnoying part of this pretty amazing song was thankfully excised. “Don’t like his baggy jeans but…” this girl’s a hit. Imagine all the fun you’re going to have to this song. — Thomas Rooker White

Tags: Estelle, American Boy, Homeschool, Late Show, David Letterman

Moby, “Disco Lies” (Mute, 2008)

Is this what the feverish murder dreams of vegans look like? One lone chick escapes death by foodstuff, grows up to be bird pimpin’, only to stumble upon the suspect street food joint that totally ate his brethren for lunch. And then it really gets nuts. Feathers fly through a chase scene, and in the meantime the Mobes’ crystalline stab at early to mid-1980s disco/freestyle soundtracks the shit. And in the end, it’s like the clip for Daft Punk’s “Da Funk” meets Death Wish. — Johnny Loftus

Kings Have Long Arms, “Big Umbrella” (Domino, 2008)

As Candie Payne strolls through the rowhouses, this clip for Kings Have Long Arms‘ “Big Umbrella” really starts to feel like 1970s British television, the sort of light comedy with a bit of the madcap thrown in that, here in America anyway, you’d see on late-night PBS. And hope for boobs. Then it goes color, and cartoony, and it gets into some Monty Python shizz. Not a bad song, either, though it is sort of pleasantly boring. You can always change the channel. — Johnny Loftus

The Corrections, “Barcode” (EMI, 2008)

This is the video for the Corrections‘ debut single “Barcode,” from their full-length Repeat After Me. The band have repeated after plenty of types with this — you’ve heard that spiny guitar line before. That’s probably OK though, in general. Nothing’s new anymore. But even though it’s cool when the band’s vocalist starts to be attacked by a flurry of chalk streaks midway through the clip, the sense here is that “Barcode” belongs in that early to mid-1990s “120 Minutes” zone, when MTV’s alternative warhorse was stocking its waters with so many soundalikes, it contributed to the final saturation of a market. Everything’s cyclical, just as nothing’s new, and even though we don’t want to blame one band for anything, it’s difficult to imagine the Corrections really killing this live. They’re a more earnest Interpol, maybe. But Interpol isn’t much of anything anymore, either. — Johnny Loftus

Hot Chip, “One Pure Thought” (Astralwerks/DFA, 2008)

The beginning sort of checks “Something So Strong” by Crowded House, and Hot Chip guy even sounds like a Finn brother there for a minute. But then the rest of the dudes start plinking on his cartoon head, and this clip for “One Pure Thought” is suddenly all Hot Chip all the time. The band’s flair for quirk is part of its appeal; it’s part of what makes them occasionally annoying, too, but the latter isn’t something they’ve had to deal with as much with Made in the Dark, their most recent and most infections. “Pure Thought” is no different, combining the group’s organic stoner sensibilities with twittering electro-pop and even a guitar solo. And that ending, with the dancing in unison…well, it’s pretty irresistible, right? — Johnny Loftus

Yelle, “Je Veux Te Voir” (Caroline, 2007)

Dude’s Georgia jersey is balls out. How did that garment even make it to France? It must be hard for him to catch SEC games live. Fun fact: if you watch this clip until its finale, that’s almost how it felt/looked here. Pop music will never fault you for loving it. — Johnny Loftus

Helio Sequence, “Keep Your Eyes Ahead” (Sub Pop, 2008)

Helio Sequence don’t get enough credit. These dudes have been making solidly melodic and even experimental indie rock four five albums now, and they can play on a mobile stage all over the city of Portland way better than their competitors. That’s just a fact, and this clip proves it. Light-up drum kit owns. — Johnny Loftus

American Music Club, “All the Lost Souls Welcome You to San Francisco” (Merge, 2008)

Leave it to the embittered, but tender fellows in American Music Club to depict themselves floating in the very cocktails they drink. This classy clip for one of the numerous classy jams on AMC’s latest record features bottoms up cameos from Mark Eitzel and Vudi. But witness also the appearance of Grace Zabriskie, esteemed member of David Lynch’s usual suspects (she played Laura Palmer’s mom on “Twin Peaks,” and appeared in Inland Empire). Here she’s the queen of the barflies, or your welcoming committee. — Johnny Loftus