Posts tagged Esiotrot

Let’s just put this whole silly mess behind us.

Homecoming is the story of an English guy and an American girl, and the way they each view their relationship. Neither of these characters are likeable. He comes across as a dick (”I fuck my American cunt“) while she proves to be so vacuous (thinking he’s the perfect guy – “I love my English romance“) that she wouldn’t be out of place in Nada Surf’s Popular. I reference that song largely because this song covers much the same ground in both style and endorsing the lifestyle of the terminally stupid. It’s all lo-fi guitar and vocals that alternate between the subdued and the sweet. Without knowing what the song was about in the first place, you could easily listen to it and not even realise the darker undertones.

The first track from Under the Blacklight manages to set the bar a bit too high for the rest of it, aiding in the crushing disappointment that follows. No matter though, Silver Lining remains one of the finest Rilo songs in years, a joy in it’s simplicity and “hooray hooray” choruses. So good that one could almost believe it was held over from a previous album.

Quite possibly the finest song ever concerning Sodom and Gomorrah. Probably the only song concerning Sodom and Gomorrah.

I struggled with the first proper Los Campesinos! singles (this and We Throw Parties, You Throw Knives) because they just sounded wrong at first. Covered in distortion, overproduced, seemingly losing some of the joy of the original recordings. I kept listening to them though and they soon became staples on my playlists. Don’t Tell Me To Do The Math(s), over the course of the year, wormed it’s way into my favourite song list. I don’t really know how, but now it’s hard to listen to it without shouting out the words as loud as possible at the same time. And if that isn’t the mark of a great song, I don’t know what is.

Just close your eyes and listen to this song. Immerse yourself in it, take in every word. That should be more than enough to justify it’s place here.

Few bands have the kind of energy that Johnny Foreigner seem to bring to every song. Champagne Girls I Have Known is a noisy, confusing mess, with multiple vocals, guitars and drums all trying to be louder than each other. In other words, a glorious assault on the eardrums.

I’ll Kill Her is one of the those rare songs that will just sit on repeat for long periods at at time. SoKo Girl starts gently enough: she’s talking about how the guy she likes didn’t call her to go on their date. So far, so mundane. This evolves into anger as the song goes on about the “bitch” that is now in her place, through the eventual announcement that makes up the title of the song. The interesting part here though is that the narrator seems entirely unstable. It may all be as literal as it sounds on the initial listen, or it could be so much more. Even people bitter about a breakup don’t usually launch into detailed “what ifs” about the children they would have had (even naming them Tom and Susan). At the very least, this girl has some kind of issues. Listen again though, and you start to wonder if there was even a breakup involved. She never mentions one directly. For all we know, she has never even met the guy she’s bitter about losing to someone else. This could just be the most elaborate stalker scenario put to record. It doesn’t really matter exactly which scenario it is though. At the very least, it’s a fascinating stream of consciousness of a somewhat damaged person. It’s sung in such an informal (almost conversational) tone that it’s impossible to dislike her, no matter how crazy it may come across as at times.

I’ve been trying to write the blurb for this song for the last couple of days with little success. Which is a bit odd considering it’s my number one song of last year. I’ve listened to it repeatedly trying to pull some inspiration from it with no luck. Which isn’t a slight against the song itself. I adore it, probably more now than when I started listening to it last year. I just can’t seem to explain it in words. Sure, it has all of the hallmarks of what I like in music: vaguely twee, fragile yet amusing lyrics, even a trumpet. Yet I can’t seem to locate that “wow” factor which tips it over the top. Maybe, to it’s eternal credit, it doesn’t need one.

And.. stop.