We askedSpring Offensive to create a mixtape of their favourite songs and tell us a bit about all of them and why they mean so much to the band. It's a pretty eclectic but very awesome set of tunes. It's also available as a spotify playlist for your listening pleasure. Spring Offensive Spotify Playlist for The 405 - (Click Here!) The Antlers: 'Kettering' A truly incredible track from a truly incredible album (‘Hospice’). For us, this song was a massive influence on The First of Many Dreams about Monsters, not only in terms of lyrical content, but also with its beeping and crackling hospital-like-soundscapes. How can you not be taken in with an opening lyric ‘I wish that I had known in the first minute we met, the unpayable debt that I owed you’. Very rarely do songs grab me around the throat like this one. (Matt Cooper, guitar) Local Natives: 'Airplanes' Embarrassingly for me, I stumbled across this track whilst looking for ‘Airplanes’ by B.O.B. Shame on me. Another beautiful and spacious track. (MC) Meursault: 'Crank Resolutions' Having said ‘very rarely do songs grab me around the throat like this one’, ‘Crank Resolutions’ did just that. Seeing these guys live blew me away. This track, which is the second on the album ‘All Creatures Will Make Merry’, has a brilliantly fast and uneasy synth beat rattling throughout the track. It makes me want to dance and cry at the same time, because cutting through the cacophony of chaos pads and guitars comes the shout ‘I broke down on New Years Day’. And it is a shout. Every line feels like it has come from somewhere deep and unheard; as if the frustration has been bubbling within him and just forced its way out, like a volcano of Scottish-folk-twinged-electro-rock. Maybe that is a bit too dramatic. However, everything seems to be just that in the world of Meursault though, where even the mundane walk home after a party becomes a nostalgic journey past his friends’ houses. (MC) Anathallo: 'Italo' Lovely bouncy rhythms and a melody that seems to go on forever without repetition. Lady GaGa could do with a bit of that... (Pelham Groom, drums) Michael Jackson: 'Man In The Mirror' Possibly never again will we see such ruthless deployment of the gospel choir. Combined with the most euphoric modulation of the past half century, it's hard to ignore. (PG) The Winchell Riots: 'I'd Lower You Down' Proof indeed that romantic doesn't have to be cheesy, and that the epic indie refrain hasn't given up the ghost yet. (PG) Saul Williams: 'Coded Language' Towards the end of the 90s, Saul Williams was an angsty slam-poet trying to find the best means of communicating his ideas. He found it with 2001's Amethyst Rock Star, essentially a cut and paste compilation of various poems of his, delivered in a frenzied style that went well beyond hip-hop, all set to a backing track that had Bristol's underground electronic scene as its unlikely source of inspiration. On this track, Krust himself provides the relentless crescendo of drum and bass, while Saul furiously yelps his list of charges against a culture that is betraying itself, before issuing a stirring call to arms: “Every person as beings of sound to uplift the consciousness of the entire fucking world.” At close to 9 minutes, this song is a journey, and a highlight from a transcendent record. (Lucas Whitworth, vocals) Autolux: 'Turnstile Blues' This is one of the greatest debut albums of my lifetime – the only problem is that it's taken them six whole years to follow it (Transit Transit, due in August). Turnstile Blues is the opening track, and acts as a perfect introduction to their sound: simple, sparse and tight arrangements, almost folksy melodies, and the potential for My Bloody Valentine-esque guitar sabotage. This is the sort of tune that might seem underwhelming at first, but it burrows its way into your head, and once it's in there it will never leave. One moment you'll be drifting off into your own world, the next your head is nodding uncontrollably. Trent Reznor certainly rated it: he invited these guys on tour, and for a while he used to play this song as his house music before Nine Inch Nails came on stage. (LW) Fucked Up: 'Year Of The Pig' Everyone loves surprises. And there's nothing quite as surprising as a hardcore band releasing an 18-minute long single that takes as much influence from indie and prog as it does punk. Describing it is pretty pointless; suffice to say that this, the second in the Chinese Zodiac series, is the moment that Fucked Up became a force to be reckoned with on the international music scene. At once gorgeous and brutal, it has the momentum of an avalanche. There are few current bands that are as interesting or ambitious in any genre, and this is arguably their most interesting and ambitious moment to date. Also, it's probably the only song about the Canadian prostitution industry worth listening to, so a worthy cause. Oh, and they released it as a single. An 18 minute single. It puts our 13-minute effort to shame. (LW) Bon Iver: 'The Wolves (Act I and II)' This track is a true testament to just how much beauty and emotion can be put across through music. A mix of haunting lyrics and vocals and the most elegant and gradual build up all come together as some of the factors that make this a truly heart wrenching and gorgeous song. The ending percussion is stunning and really brings it to an amazing crescendo. For the band, Bon Iver always seems to bring around the discussion of writing songs in solitude, as it seems to be an extremely productive way to write music. This song has always had the ability to make me smile, feel emotional, and stir to mind sad parts of my life all in one. Truly beautiful. (Joe Charlett, bass) Jose Gonzalez: 'Crosses' This track is a master class on playing dynamics, and with just technique and style Gonzalez manages to bring the song to life and really push sections to accentuate them. Watch out for the drop before the chorus and how he uses tempo and depth to lift it up. The album as a whole is perfectly balanced, and Crosses is definitely the high light. (JC) Common: 'Jimi Was A Rock Star' Part of the same late ‘90s and early ‘00s subtly experimental jazz/hip-hop scene as The Roots, Common’s self-proclaimed goal on this album (2002’s Electric Circus) was to make atypical hip-hop, and indeed ‘atypical’ is most definitely an apt word for this incredible fusion. At times sounding like Tricky-esque trip-hop but with an almost post-rock infused climax, the song even evokes The Mars Volta (from a time when they didn’t collectively put out five albums a year) in its weird outro comprised of loops and sound manipulation. Listen to this tune and you might find yourself entering a higher plane of being (maybe). (Theo Whitworth, guitar) http://www.myspace.com/springoffensive