As I reckon, the best song of the year—an undeniably catchy, three-minute bedroom-pop masterpiece called "Rawnald Gregory Erickson the Second"—unexpectedly rode into town sometime in early August on a little blue pony. The loveably misshapen, two-dimensional colt in question was a hand-printed image, barely distinguishable from a Rorschach inkblot, that had been stamped on the backs of an initial run of 42 flimsy, paper CD sleeves. Aside from the nearly featureless, playfully bucking bronco, the only identifying marks on this endearingly slapdash package were block letters, printed in the same shade of bold blue as the horse, spelling out the name of the local band that made it: Starfucker. Inside the sleeve were radish seeds, a children's vocab flash card, a sticker, aromatic bits of Nevada desert sage, and a remarkable, seven-song debut CD EP.When I imagine Josh Hodges—the unassuming multi-instrumentalist behind Starfucker (as well as local band Sexton Blake)—assembling these first untitled EPs, I picture him running around his house in a state of wild abandon, gleefully grabbing unrelated odds and ends from his shelves and garden, one by one, to seal up in the pony-print packaging for his future audience to enjoy. I see him pursuing each item as it pops into his head until he either finds it, or a new, more alluring possibility creeps into his mind, setting him off on a fresh hunt. This is how teenagers love and how children play—with total, single-minded devotion to one object of desire until the fun fades or a new fancy comes along. As evidenced by the irresistible, relentlessly hooky "Rawnald Gregory Erickson the Second"—or really any of the untitled EP's excellent tracks, each dedicated to a unitary idea—this is also how Hodges writes music. The song consists of one chord progression repeated on keyboard, guitar, and bass from start to finish, intermittently accompanied by a single bittersweet vocal melody sung just above a whisper. The changes, with the exception of a wonderful recurring guitar ornament, are mostly textural and come from small but significant variations in the percussion and drum tracks. Thanks to the overwhelming strength of the hook, and the audible joy and sincerity with which Hodges explores it, the result of this repetition is not the pleasant but ultimately unfulfilling fluff one might fear, but one of the most flawless, satisfying, infinitely replayable pop songs I've ever heard.Yet there are those who claim that EP-opener "German Love" is Starfucker's real triumph, to say nothing of the band's many live favorites, or the 40 or so songs that Hodges has semi-recorded on his computer, waiting to be finished for a full-length next year. In any case, it's clear that we've already seen more from this little blue pony than just one trick, and the best is likely still to come.