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The brilliant–and sure, quirky–alt-rock icons are touring to celebrate the 30 th remembrance of their influential recording’ Flood’
To celebrate the 30 th remembrance of their vex and beloved 1990 album Flood, They Might Be Giants, the Brooklyn-via-Massachusetts alt-rock duo of John Flansburgh( glasses; humorou; guitar, mainly) and John Linnell( no glasses; even droller; accordion, routinely) are learning to play the deep chipped “Sapphire Missile of Pure Love” downward. Meaning physically, message-from-Satan backward. Linnell describes this undertaking, drolly, as a “heroic effort, ” and regards the result thus far as “surprisingly musical.”
He’s joking. He’s half-joking. Because with this band, with this lifestyle, the goofier the idea, the purer the intent and the harder the operate. “John and I have expended hours and hours at this top trying to memorize the backwards words of’ Sapphire Bullet of Pure Love, ’” Linnell shows, chitchatting on the phone in mid-January as the duo, long augmented live by a full banding, prepared to embark on a monthslong Flood-centric national tour. “What we’ve been able to do at recital is sing it holding up poetic expanses in front of our faces, but we still haven’t surmounted the off-book version.”
The original, linear-time “Sapphire Missile of Pure Love” is a 96 -second oddity amid the 18 other confounding and delightful incongruities that forgivenes Flood, with a pleasantly disorienting keyboard loop-the-loop and some modest pots-and-pans percussion and( really !) a little gentle accordion. The piteous texts, sung collectively by both Johns, symmetry whimsy and menace in time-honored They Might Be Monster style: “John, I’ve been bad, and they’re comin’ after me/ Done someone wrong and I fear that it was me.” It’s a bright little jingle; it’s a resigned death knell. Just because you have no idea what it entails( “youve never” do , not exactly) doesn’t mean it ain’t profound.
I told my chap TMBG-obsessive brother-in-law about this playing-it-backward business and he immediately routed me a time-flipped MP3 of the song with the register specify “Evol Erup Fo Stellub Erihppas”; the keyboard loop sounds pretty much the same, and the rest sounds like a drunk Tame Impala singing in German. Godspeed, then, to whichever lucky crowd in whatever random city first gets to hear this splendid monstrosity live. Will that multitude get any advance advising? “Good question, ” Linnell says. “I don’t know. Which would be better? Would it be better to tell people in advance, so they’re ready for that? Maybe we could get parties to video it, and then we’ll leave it to them to overrule the video and watch it backwards. See what kind of job we did. You know? ”
God bless They Might Be Whale, then, for bringing a startling impression of innovation to even their nostalgia play-acts. If you’re going to perform these fellas look backward, then by jove, they’re going to sing backward, too.
Flansburgh and Linnell first met at Ephraim Curtis Middle School in Sudbury, Massachusetts, and first rose to prominence in NYC via a mid-’8 0s East Village performance-art scene Flansburgh describes, in a separate phone call, as “a particularly exhilarating mix of simply trash that was so beyond fucked up.” They often shared monies with Steve Buscemi’s experimental comedy duo; “I ensure a trailer for a movie, ” Linnell reminisces of an incident many years later, “And I was like,’ Oh, hey, there’s that guy.’”
TMBG’s self-titled 1986 introduction, all minimum drum-machine grandeur and avant-garde juvenilia, has a jaunty polka announced “I Hope That I Get Old Before I Die”; the crunchier Lincoln, from 1988, has a fairly melancholy jangle-pop breakup song announced “They’ll Need a Crane.” College rock-and-roll was a thing back then, scruffy and erudite and sometimes even anthemic in a self-deprecating sort of way; the Johns’ more specific kindred spirits, from my perspective at least, straddled from “Weird Al” Yankovic( legitimate laughter+ accordion) to Pee-wee Herman( delectable whimsy so profound it scans as menace) to the Monty Python diaspora( every new bite-sized art-pop opus, and each of the band’s books bundles in 20 or so, was a bracing fish-slap to the face ).
But no craftsman before or since comes closely connected to capturing this band’s ferociously sincere impertinence.( Or staying power: They Might Be Giant still tour relentlessly and have exhausted various dozen books, including 3 in 2018 alone .) Released in January 1990, Flood was the band’s major-label debut for Elektra, back when those terms meant something; “The major label, ” Linnell wonders, “had this amazing power to inflict it on the whole world.”
Which intended modest radio frolic and even some dead-of-night MTV action. The culminate arise is that when I was 12 or 13, adrift spiritually in pre-alternative-rock Midwestern dolor, my Cool Uncle Nick frisked Flood’s “Particle Man” for me–the catchy handclaps, the oompah return, the honourable accordion riff, the abstrusely childlike science-vs.-theology narrative pitting Particle Man against Triangle Man against Universe Man against Person Man–and without exaggeration changed my life.
“It’s nice that you have a Cool Uncle, ” Linnell says. “Not everybody comes one of those.” He likely hears this kind of thing a lot. The Flood entry in the pocket-sized-book-on-one-album 33 1/3 serials, to be established by two PhD’s appointed Elizabeth Sandifer and S. Alexander Reed, is built around the thesis that They Might Be Heavyweight fix “ideal music for the middle school’ gifted’ set, a group of variously outcast kids who, nevertheless, don’t actually want to piss off their parents.” Flood’s three more sustained lyrics( all live staples to this day) are “Particle Man”; a geographically precise klezmer cover of the ’5 0s oddity song “Istanbul( Not Constantinople) ”; and the not-at-all-self-deprecatingly anthemic “Birdhouse in Your Soul, ” a rapturous synth-pop jam sung from the point of view of a friendly nightlight.
“Particle Man” and “Istanbul( Not Constantinople ), ” in fact, depicted up in a fantastic 1991 episode of the after-school animated staple Tiny Toon Adventures; the farce cruelty( Universe Man pounds the bejesus out of Particle Man) was not exactly on brand, though the literally-too-young-to-grow-up chaos of it all was on brand in the extreme.
Overall, Flood was quirky and playful enough to scan as utterly uncool at the time but abundance heartfelt enough to qualify, in retrospect, as the coolest thing imaginable. “It is at once a childish look at adulthood, ” Sandifer and Reed write, “and a evolve look at childhood experience.” Critics didn’t always get onto; the band’s email newsletter recently reprinted, under the extra-droll headline ROLLING STONE RAVES !, the magazine’s two-star review of Flood, which begins with the line “Now that the freshness of their Dorks on Parade shtick has worn off … ” But the kids were fastened, and stayed robbed long after they’d ceased to be kids.
Flansburgh, too, gets the whole you-changed-my-life-in-junior-high programme a lot. “This is a really strange thing, but Flood was wildly favourite with the Columbia House music club, ” he tells me, referring to the old-time eight-CDs-for-a-penny mail-order fus abused by numerous a ’9 0s girl. “Which is a mistake that only parties in the eighth grade utter, right? ”
“We want to do material that’s surprising, but we also want to form hymns who the hell is persuasive and catchy and interesting and pull parties in. I necessitate, you can surprise beings precisely by pulling out a gun.” — John Flansburgh
As it happens, I have retained for 30 -odd years the Columbia House catalog description of Flood, which should include two paroles: “quirky brilliance.” Which is another thing these guys get a lot. “I mean, I would settle for time’ splendour, ’” Flansburgh jokes, but part of this record’s legacy is the way it both relentlessly attracted and valiantly exchanged oaths like nerdy or dorky or geeky. “I think people want to create drama, and the idea that we’re, like, shaking our fists to the heavens every time somebody announces us quirky might be sort of jocular, ” he says. “The truth is, we’ve ever approached this as, we want to do something that’s extreme, and we want to do something that is a very authentic representation of our taste. We are perfectly aware that we’re mixing humor and music together, and that’s a balancing act.”
More exclusively( and dangerously ), it’s “cultural nitroglycerin, ” as he frames it. “If you’re trying to write a song that’s going to hold up to repeated listening and not just be super fucking annoying, you’ve got a much more complicated thing that you’ve got to do, and that’s, I reckon, where we’re at, ” Flansburgh continues. “We want to do trash that’s surprising, but we also want to acquire sungs that are persuasive and catchy and interesting and pull parties in. I imply, you can surprise people merely by pulling out a gun.”
Flood’s persuasive glories include the piano ballad “Dead”( in which the narrator is reincarnated as a suitcase of groceries ), or the room less melancholy surf-rock breakup song “Twisting, ” or the outre dub fantasia “Hearing Aid”( featuring a scabrous guitar solo from No Wave deity Arto Lindsay ). Or the delirious cornet solo in the midst of an uncharacteristically simple bop announced “Your Racist Friend.” Or the affable barnyard lope “We Want a Rock, ” which revolves around the choir, “Everybody requires a cliff/ To gale their bit of string around.”( It’s a parable about conformism, perhaps: “Its core non-judgmentality, ” the Flood book reasons, “helps defang the concept of exclusivity from which coolness outlines its dominance, producing an ode to the delights of the uncool that stimulates no actual effort to redeem or attack the uncool.”) If that’s very wordy, try the surrealist lounge-rock blip “Minimum Wage, ” which consists of three paroles, if heeeya! even weighs as a word.
Back in 2010, when the band played some 20 th-anniversary shows that established me feel plenty old-fashioned fairly, the Flood track that most reverberated with me was the marching-band epic “Whistling in the Dark, ” one of the album’s longest adjusts( at 3:25) and most direct entreaties to the outcast 12 -year-old still sneaking in us all:
There’s only one thing that I know how to do wellAnd I’ve often been told that you simply can do what you know how to do wellAnd that’s be youBe what your likeBe like yourself
Et cetera. Rather simple; awfully inspirational. Except Linnell sings the song in a morosely silly swing-low-sweet-chariot voice, and the narrator happens to mention that he’s in jail. Do not look to They Might Be Giants for uncomplicated opinion or autobiography. “I hope that it’s obvious that we’re being sort of arch, ” Linnell says. “Or, we’re speaking in the voice of a fictitious character. Maybe there’s an inaccurate narrator. When individual says in a song,’ People should get beat up for territory their beliefs’”–that’s from a Lincoln song called “Shoehorn With Teeth”–“I hope beings get that we, the songwriters, don’t is of the opinion that way.”
How the songwriters really feel is a mystery the Johns have preserved for 30 -plus times. “I don’t think we’re be concerned with communicating to an gathering the space a great deal of more successful songwriters are, ” Flansburgh says. “Have you noticed that there’s this utterance’ public-facing’ that’s come into use? I feel like there are still bands and songwriters that are very public-facing, and there are bands that are kind of private-facing. I feel like we are a intensely private-facing band.”
Profoundly forward-looking, very: They Might Be Monster thrived in the alt-rock ’9 0s but also, crucially, survived them, pivoting to children’s albums for a brief stretch of the 2000 s and scarcely slowing down since.( I Like Fun, the band’s most prominent of three 2018 records, has the informal vivacity of goody-goody agitators one-fifth the band’s age .) On the Flood tour that will rumble on into May, the causes will previous more than two hours, which intends Flood itself will take up far less than half the substantiate. Flansburgh is still scarred by an old-fashioned Inside Amy Schumer sketch about a screaming romantic breakup wherein Schumer screams, “I hope that the next time you go to a concert, the band doesn’t play the song you want to hear, and instead, they just play chorus off their new album.” But this organization feels like the exact right amount of nostalgia to have, a stridently present-tense celebration of the past.
That’s it’s own kind of cultural nitroglycerin, of course. “I mean, we are just going to keep getting older, ” Flansburgh jokes, or half-jokes. “It’s so strange. Because we invest so little time dwelling on this nonsense and how it changes parties, we have beings come to shows who were completely fostered on our music, and they’re adults. They’re full-grown adults. For them to become involved in our evidence, it’s not like investigating a contemporary stripe. It’s simply them checking in with who they are. Which is wild.” Even the life of a riotously successful rock-and-roll band are simply be lived forward. That band’s chants, though, with a little practice, are another matter.
Read more: theringer.com
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