Gaza, "Skull Trophy"
Gaza, out of Salt Lake City, played a brand of metal that crossed a bunch of arbitrary genre boundaries, usually a combination of sludge and doom. I recognize that these kinds of categorizations are deeply unhelpful for folks unfamiliar with metal, and yet I provide them anyway. It's loud and angry! It sometimes slows down to a drag along ala doom, and is often centered around big riffs, like sludge. And has a lot of shouting.
The Jam, "Girl On The Phone"
This is not loud and angry! It's hard not to bounce at least a little bit when listening to the Jam, which isn't such a bad thing. Settings Songs is real good!
Can't get insight like that just anywhere, y'all.
Firewater, "The Notorious & Legendary Dog & Pony Show"
Among the many delights of Firewater is their willingness to embrace musical traditions and forms outside of just 4/4 rock, and to make it sound natural and unforced. And let's face it, the world needs more tuba.
The Queers, "Nobody Likes Me"
Hey, I'll do the jokes around here, Queers. The Queers? Dammit, now my meta joke got all weird.
On Music Is Rotted One Note, Squarepusher took a huge leap away from the drum'n'bass of his previous work and bolted it to jazz fusion, creating a record that was a revelation. He then spent a few records kind of wandering around before arriving at Ultravisitor, which brought back more of the aggressive electronics of his early work, while still having plenty of the jazz character. It's a great album, standing out as a peak in his later career.