Your diss is on my playlist?

Big shows at unexpected venues: Mario Andreoni of Chk Chk Chk at the Townhouse (left) and Phil Elverum of Mount Eerie at The Hub.

Big shows at unexpected venues: Mario Andreoni of Chk Chk Chk at the Townhouse (left) and Phil Elverum of Mount Eerie at The Hub.

Photo By NICK MILLER and Lindsey Walker

Next time use Twitter, Skills:
For this latest edition of Playlists!, we used Facebook to ask readers what they’re listening to. So, if you don’t like what people have on their stereos and iPods, blame Facebook, all right? Here you go:

DJ Roger Carpio: “Cat Black” by Marc Bolan (The Beginning of Doves), “Stockholm Syndrome” by Yo La Tengo (I Can Hear the Heart Beating as One), “(Antichrist Television Blues)” by Arcade Fire (Neon Bible).

Kevin Seconds: “Save the World, Get the Girl” by the King Blues (Save the World, Get the Girl), “Carbona Not Glue” by the Ramones (Leave Home), “I Used to Say Your Name” by Bag of Kittens.

Asbestos Press artists Laura Edmisten: “Barnacles” by Ugly Casanova (Sharpen Your Teeth), “Young Hearts Spark Fire” by Japandroids (Post-Nothing), “Chains of Love” by Dirtbombs (Ultraglide in Black).

Michael Longstreet: “Do You Wanna Date My Avatar” by Felicia Day; “Circus” by Britney Spears (Circus), “A Hero Comes Home” by Idina Menzel (Music From the Motion Picture Beowulf).

Author David Kulczyk: “Wet Blanket” by the Chills (Brave Words), “Hey Bulldog” by the Beatles (Yellow Submarine), “You’re No Fun” by the Tubes (Now).

Eric Fate: “Life and Death at Sea” by Or the Whale (Light Poles and Pines), “Bring on the Ending” by Matt Pond PA (Emblems), “3 A.M.” by Guadalcanal Diary (2 X 4).

Drummer Adam Saake: “I Kissed a Girl” by Katy Perry (One of the Boys), “3 A.M.” by Eminem (Travis Barker remix), “1234” by Feist (The Reminder). (We thought Saake was messing with us, so we wrote him, “Seriously?” His reply: “Hahaha! Dude, I get in where I fit in. Plus, people take their music selections too seriously like it’s a ‘cool’ quiz. Plus, I kiss girls and I love it.”)

The Brambles blogger Jeff McCrory: “Missing Boy” by the Durutti Column (LC), “We’re an American Band” by Yo La Tengo (I Can Hear the Heart Beating as One), “Ventura Highway” by America (Homecoming).

SN&R contributor and 7Gigs scribe Julie De La Torre: “A Lil Soul for Ya @$$” by DJ Chachi (Shrine), “Party and Bullshit” by the Notorious B.I.G. (Who’s the Man? Original Motion Picture Soundtrack), “That’s All Right, Mama” by Elvis Presley (it was a single in 1954, d-bag).

Musician Jesse Lee Miller: “Smoke” by Lucero (1372 Overton Park), “Kick Drum Heart” by the Avett Brothers (I and Love and You), “Colder by the Minute” by Drew Grow & the Pastors’ Wives (Next Lips).

Bows and Arrows co-owner Trisha Rhomberg: “Dutches of York” by the Upsidedown (Trust Electricity), “Anenome” by the Brian Jonestown Massacre (Their Satanic Majesties’ Second Request), “TV Pro” by the Vines (Winning Days).

Debbie Chang: “Albert” by Essential Logic (Fanfare in the Garden), “Silence” by Mary Timony (Ex Hex), “Gesi Baglari” by Selda (Bearded Ladies, Vol. 1), “Bird in the Mirror” by Agent Ribbons (Your Love Is the Smallest Doll).

Carl Benvenuti: “Revival” by Soulsavers (It’s Not How Far You Fall, It’s the Way You Land), “I Am the Resurrection” by the Stone Roses (The Stone Roses 20th Anniversary), “Someplace Else Unknown” by the Brian Jonestown Massacre (an album tentatively titled Who Killed Sgt. Pepper?)

SN&R calendar editor Jenn Kistler: “Pretty Flowers” by Dolly Parton and Vince Gill (written by Steve Martin), “I’m Still the Same Person” by Sister Crayon, “Roygbiv” by Boards of Canada (Music Has the Right to Children).

Chk Chk Chk, bang bang:
Sacramento’s love child Chk Chk Chk (!!!) returned to their birth mother last Friday night and delivered to a packed Townhouse, along with Mayyors. Though a relatively secret show, a fat line headed out the door and down the block. Frontman Nic Offer, sporting his blue short shorts, laid waste upon the crowd with some off-the-chain dance moves and charismatic banter. The whole group totally killed and really proved, again, reason for their success. And seeing the audience’s reaction convinced me that a crowded club environment best suits their spastic disco-dance-punk. The crowd seemed to offer up their souls in exchange for the right to dance their asses off. And of course the band, godlike, willingly and hedonistically accepted. (Lindsey Walker)