though i don't usually find their music very interesting i do have to give the FF's credit as an act committed to the art of the weird perceptual journey. i like the little electronic organ hook, and it'll do a carefree switch into a different pattern for a few moments that seems to make sense musically but also create the feeling of an unanswered question. i know about eleanor friedberger growing up somewhat close to where i did but she sounds somewhat convincingly unlike a native speaker here. there's little things in the song like the reverse-speech moment that don't work wonders but add to the vibe for sure.
they like played thjs at ptichfork and it was good
mnemonic for you: Toni Morrison Made Comprehensive Dialogues Despite Nearby Hordes of Reactionaries that are Verily Contemptible
How Much Did I Enjoy This Song: 5.9 [4.4 wd/5]
The First Begotten Sun Of How Much Did I Enjoy This Song: 2.2
How Much Did I Hadn't Listened To This Song: 0.8
How Much Did PJ Submit The Song: They Did
How Much Would I Have Expected It From Them: i would probably guess chickadee here if not for the song that i would have guessed chickadee for. or maybe ariel. quite unlikely to have been correct in any case.
8.9
long floaty bassless segments make this really interesting - they force out a long brooding thought as to what is meant by that title refrain, "i never believed in the robber" and suggest that it's something more interesting than my first guess which went something like "i never thought i would get robbed but then i did (incidentally i guess that means i have to be a right winger now)." the whole of the vocal is really engaging and dramatic, some moments like "i learned to make love to the robber" are quite shocking and thought provoking. absolute menagerie of instruments, its really something. a gasping piano and sax are recurring characters but there are a lot of moments where some kind of jazz organ or any number of other slightly different things will briefly chime in, sort of like an audience member or support group member briefly vocalizing in agreement. the big swirling updraft at 3:00 is really great. they should collab with wendy williams & do a song about the killer
ibid. also there was like a nasty sax solo that bridged the gap to a certain other pj walrus situation
mnemonic for you: Toni Morrison Made Comprehensive Dialogues Despite Nearby Hordes of Reactionaries that are Verily Contemptible
enjoy: 5.3 [4.1 wd/5]
cat: 2.6
unfam: 0.6
sus user: hellbooks
user: jun //had u guys switched!!! besties
3rd place: 0.5
9.0
its funny to think of thundercats voice as the right-cat archetypical small & timid style, but it fits the bill. i think the theme of it, being this insistence on producing a little emotional expression "i just wanna party with you"/"you make me happy" in spite of complicating factors e.g. epic drunkness, really gets at the spirit of the right cat (the drunk motif is also a way of adapting the graininess). there's also a few instances of him using the term "little" that build it up further, also i think the bweow-wow-wow bass is a sort of sound that is conditioned by epic video game music (earthbound maybe??) to represent a funny little creature. the 0.4 points of imperfection here come from the dance-y presentation and the slick flylo production, both of which struggle to be reflected by the burdened vibes of the cats.
brilliantly thundercat was continuing to play for several minutes after yves tumor & i left the latter right when they finished and caught exactly this song which was the last thing in thundercats set
mnemonic for you: Toni Morrison Made Comprehensive Dialogues Despite Nearby Hordes of Reactionaries that are Verily Contemptible
