Exploring a ghost town can be an entertaining and informative experience, but there are always a few nogoodniks who show up just to break windows and jump on beds.
And of the beach performance, we’ll ask, as we always do, what are those amps plugged into? Realism need not be sacrificed in the name of rock ’n’ roll.
“Get Lost” can be found on the recently-released L.A. Witch full-length.
Yes, we brought up Daleks and Nine Inch Nails in our review of their last album, but there’s still no better way to describe the oppressive sonic framework that Odonis Odonis are currently operating within.
We’ll call this one the Dalek house party. Lyrical content is kept to a minimum—it’s meant to be felt as much as heard (your speakers will rattle and hum). It’s the kind of dance music Trent Reznor would be making today if he was still edgy and had a soft spot for Mr. Oizo. It’s reminiscent, as well, of certain portions of Primal Scream’s XTRMNTR.
No Pop is sure to frighten small children and the elderly. The doom is palpable. Check out “Nasty Boy” below.
We were simple folk until the gods gave us war, and it all started with the handing of a huge sword to a little girl. Downward spiral, since.
Best YouTube comments for this video:
“DOES ANYONE ELSE FEEL LIKE THERE WATCHING A WES ANDERSON MOVIE”
“Accidentally clicked on this instead of the Alice in Chains song of the same name, wow this is the lamest thing I’ve seen in a while.”
“Phantom Limb” (by The Shins) comes from their 2007 album, Wincing the Night Away. The Alice in Chains song of the same name comes from their 2013 record, The Devil Put Dinosaurs Here. Yes, they named an album that. Yes, they’re still making music.
Looks like a lonely walk down that road, but she seems to be enjoying herself—sauntering, even. The problem: if no one sees your sign, does it count as a protest?
Maybe it isn’t meant to be, anyway. Daniel Romano describes her Ramonesy journey as: “Noble Avant-Guard-ist walks the evaded boulevards of the universal boondocks.”
The research portion of today’s post: If you google “repressed rapture” (the protest sign) the predominant source is poet Percy Bysshe Shelley: “A dewy moisture filled her eyes, as she gazed with an expression of tumultuous, yet repressed rapture, upon the hapless Verezzi.”
Pluto is curiously absent from those planet pedestals the Johns are playing on. Its status as a planet was questioned as early as 1992—perhaps not by coincidence, this song is from 1992—but it wasn’t officially labelled a dwarf planet until 2006. Did They Might Be Giants see its demotion coming 14 years in advance?
Interesting fact re: the sax-playing astronauts in this video: the saxophone was one of the earliest musical instruments to be played in outer space (preceded only by bells and harmonica used in a Christmas prank on Gemini 6).
“The Statue Got Me High” comes from Apollo 18. They Might Be Giants have a new album—I Like Fun—on the way in January.
Flying is a privilege, not a right—these people should cheer up and enjoy their aerial abilities. Granted, all the disappearing, reappearing and doppelgangerism is probably irksome.
And of course, this is all taking place in the Matrix, as we see at the end, but if you can’t celebrate what you’ve got in there, good luck in the real world!
“Retreat (Light The Fire)” comes from Beliefs’ latest, Habitat.
“If all the girls are wearing headphones, how will they hear me singing Belle & Sebastian?”
It’s a knowing opening line. If Ruins is like anything, it’s like a Belle & Sebastian record. There’s more self-deprecation to wade through, but at its core, this is the life of—as singer Marc Cantone puts it—a boy in a woman’s world.
Ruins isn’t a huge departure from previous City And Horses albums, but it doesn’t need to be when the tunes are this catchy. The jingle-jangle sounds of sunny days and launderettes meet insecurity and anguished, Dr. Dog-style soul. Check out “Drag” below.